Amazing that a 12-year-old girl completed the full 1,001 project because who else could have recommended these schlocky dreamboats? Speaking personally, one still views the Monkees as the greatest ever boy band.

Breezy, tuneful and highly enjoyable. So right up one's alley that one wonders how one's never heard of this lot. "Animal Cannabus" and "Strangeways Inside" are particularly polished and assured – damn near transcendent, in fact. And why do all the best indie pop bands of this era (and adjacent years) all seem to be Scottish (Belle & Sebastian, Camera Obscura, Trashcan Sinatras, Arab Strap)? This would make a great addition to the list proper (in the hidden gem category).

Some decent tunes here – "Spaceman" is interesting and "Lonely Sky" emotionally engaging and "Going Home" moderately sweet – but the weird and theatrical cuts (opener, "Stripper" and "The Tower") that are way oversung – like Meat Loaf-lite – overwhelm with a typically '70s sense of excess. Def does not belong in the real list.

Cover looks sharp and – more importantly – music sounds sharp. Tight, vintage new wave before JJ became relegated to poor man's Elvis Costello territory. "Is She Really Going Out with Him?" is a classic. "Sunday Papers" also strong, but every cut is polished, tight and – yes! – sharp. Definitely would be a good fit on official list.

One realizes VW is polarizing, and one gets why the haters hate, but one's a fan – full-on. This is smart, interesting, original (enhancing what's templatized or used as foundation), fun. This sparkles and shines and is hooky as hell. Definitely merits a spot on the official list.

Rumblingly, forebodingly dark – mostly  in a good and contemplative way – holds up well.

Just what one wants from dub – deep, steady chill, with just enough darkness to freak one out if one gets too stoned.

Not bad, and better than much of this ilk, because of some arty-ish resonances, but too bassy-bouncy in that alt-rock/nu-metal kinda way. Ultimately, meh, and one gets put off by the over-seriousness and intensity this lot is into.

Was a nice little record in the '90s – easily digestible and amiable indie rock – and remains so today. One always liked the title and the more Eliot refererences in pop music the better, but nothing really to get too excited about.

Cover looks sharp and – more importantly – music sounds sharp. Tight, vintage new wave before JJ became relegated to poor man's Elvis Costello territory. "Is She Really Going Out with Him?" is a classic. "Sunday Papers" also strong, but every cut is polished, tight and – yes! – sharp. Definitely would be a good fit on official list.

Some decent tunes here – "Spaceman" is interesting and "Lonely Sky" emotionally engaging and "Going Home" moderately sweet – but the weird and theatrical cuts (opener, "Stripper" and "The Tower") that are way oversung – like Meat Loaf-lite – overwhelm with a typically '70s sense of excess. Def does not belong in the real list.

One realizes VW is polarizing, and one gets why the haters hate, but one's a fan – full-on. This is smart, interesting, original (enhancing what's templatized or used as foundation), fun. This sparkles and shines and is hooky as hell. Definitely merits a spot on the official list.

All the usual jam band features and bugs – some intermittent moments (how could there not be, given how much they throw up against the wall?) and the sax playing (though there's not enough of It) are in the former category; the indifferent vocals, silly lyrics and quotations ("Pink Panther" theme, really? and a "Ghostbusters" cover is likewise a hard no) and cul-de-sacking of so many musical ideas would be in the latter. Also, dumbest name possible – were these cats named by the same people who overreach in naming minor league baseball teams and craft beers? Does not belong on the list proper. The rating of 3 is generous, in respect of the feelings of jam bandy friends.

Achieves a comical sort of grandeur, which maybe is the end game for symphonic metal. "Finland's most expensive band" has a nicely Spinal Tap feel to it, no? Definitely does not belong on the list proper.

ST being one's ex-wife's favorite artist isn't the only reason this record sucks, but it's hard to overlook. It's baffling to think someone with sufficiently expansive musical interest to complete this list would choose this bit of synthetic country-pop as a meaningful addition. There's not accounting for taste, obvs, and one doesn't wish to be snarky, but it's safe to say history won't look kindly on ST or Mutt Lange.

At first glance, this sounds like a straightup Queen cover band, which is offputting enough, but then the polish and quality comes through and one gets to liking it, rather in spite of the heavy production hand, but then one gets to not liking it again for its insistent maximalism. Excess and great craft aren't necessarily mutually exclusive, but they make the latter hard to achieve and sustain. Being kaleidoscopic is hard enough, and the goal of trying to appeal to all tastes works about as well as trying to be everything to everyone. This is simply too much – borderline showoffy – to be truly one's thing, alas. There's sweetness in the melodies – one woulda like more or "Russan Hill" and "He's My Best Friend" [near Queen ttile] and much less of the stupid alt-rockiness– and an overall richness. A case could be made that this probably belongs on list proper but only just. Rounding up because one supposes this has been underappreciated enough.

Spiky and thrashy, with a plethora of tough, hot licks – very much the kind of thing people who are into this sort of thing will be into. A slightly artier-modernized (with some temps and shifts pauses that were probably intended to calm the audience and make them stop moshing for a second and think [or perhaps not] ) take on the basic punk formula of shouty vocals + shearing guitars + bashing percussion, which in this case mostly equals tunelessness, pointlessly angry posturing and unconvincingly (if gravely) self-seriousness. Not one's thing – hello, melody, hello structure – though the record is better (more precise, cleaner sound – probably thanks to Albini) than one remembers their early '90s live sets (which one had to endure as a nightclub deejay at the old Masquerade haunted house in the ATL – maybe one once had a viable OSHA claim). One senses a clear plan – in other words, the chaos is surely contrived because this feels too willfully difficult, to specifically unpleasant and voluntarily abrasive. And it goes on too long, for sure. Age may have tempered the shock value a touch, but this definitely does not belong on the list proper.

On first reaction, this just can't touch the first few records – for emotional depth and authenticity, spare and ghostly impact, and originality. One's all for artistic evolution and experimentation but this more than once or twice feels a little too much like a lab project – and one can't abide much autotune, especially for those artists that need it. Multiple listens reveal a quiet and haunting power in all the fragmentation, and a most human reaching under the science-meets-art-song facade. Several other of his records merit inclusion on the list proper, but this one does not quite get there.

Stately and spiritual metal, rather than speed and thrash, with some quietistic variety ("A Pitcher of Summer," "The Antique") adding to the thoughtfulness and interest. It's still not remotely one's thing. And so only belongs on list proper if it were to replace another metal record -- any of them, really, Metallica, Pantera, Slayer, Motorhead or that awful Brazilian band whose name one shall not speak – this is a full shout better than any of those.

Knottily groovy and psychedelically serious. Not bad but not great. Krauty for sure. Borderline as to whether it belongs on list proper, but probably not.

High-energy and spiky, this is solid alt rock with an arty patina and a foot in the indie rock world, which much improves the overall output. "Passion and polish" (AllMusic) is about right – there's plenty of both (and maybe slightly too much polish as one can't quite love in late middle age as it's relentlessly driving [though perhaps a younger one might]. The playing is tight and assured – not a foot is put wrong. One's pretty good on the singer – but understands why some may not like him. "Blue Light" and "This Modern Love" ["baby you've got to be more discerning" = words to live by] and "So Here We Are" are best cuts (per usual, one likes best the tunes with the moderated tempos), though the opener is strong, too. Cool cover, too.

This is a great example of why this exercise (including the bonus content) is worthwhile: one simply didn’t realize how good PH were/are and multiple listens of this record are rewarded. Certainly, they compare favorably to Traffic, say, and even the Kinks. The influence on Genesis and that ilk is clear, too – indeed, this might be best described as a proto-prog, though it’s calmer and more focused and less showy. The variety of the songs, all of which are thoughtfully conceived and quite effectively played, is a strength. “The Milk of Human Kindness” sounds like music hall meets prog and next up is the lullaby-like “Too Much Between Us.” The vibesy flute-marimba-and-bongo fest of “Boredom” is pure delight. The segue from the psych-blues of “Juicy John Pink” to the Bachian fugal opening of “Wreck of the Hesperus.” And then the liltingly contemmplative “Pilgrim’s Progress” is quite the strong closer. Great add. This would make a nifty addition to the list proper, and the not-bad debut album is almost as good, though a bit more straightforward and which one swore was on the original list. Anyway, thanks for adding this whoever did so.

Good with any band that names itself after a Shakespeare play. Bonus points for being so Pogues-y and for being a historically informed concept album (best-ever about the War Between the States?). And still more bonus points for for false-flag title of “Theme from Cheers.” The hard rock-emo combo works okay, and one likes the raucous, stewy feel of the songs, how long they go on. It's all quite pleasingly maximalist — and all-in operatic. What Green Day might have been. Only question is – does this guy sing like Conor Oberst or does Conor Oberst sing like him? The perfect sort of band to see at festivals. Good recommendation: one will make a point to hear more of this group. The list proper would be much improved by flipping this out for any of the D. Albarn side projects ... or even his central project. (In other words, this is def better than Blur.)

Yearning and minimalistic R&B/neosoul. Not the worst (or probably the first) of this sub (or sub-sub) genre. Very good voice, thoughtful pacing and tempos. Solid and certainly smoky. "Softly stunning" (Rolling Stone) feels a slight overstatement, though one's glad to know this, which doesn't sound at all street or hood-y.

Generally fun, lots of crispy-tight songs but too much and too many things going on.

Amazing that a 12-year-old girl completed the full 1,001 project because who else could have recommended these schlocky dreamboats? Speaking personally, one still views the Monkees as the greatest ever boy band.

Soulfully strong and Southern. Seems so historically informed and pristinely authentic to 1972 Muscle Shoals vibes as to be a museum piece. "Homesick" is first-rate, as is "Side Door." Not sure it quite merits inclusion for the list proper, but it's certainly not far off and one's very glad to know it. Saw this guy live a year ago and was moderately impressed, but much more so now after hearing the record.

Breezy, tuneful and highly enjoyable. So right up one's alley that one wonders how one's never heard of this lot. "Animal Cannabus" and "Strangeways Inside" are particularly polished and assured – damn near transcendent, in fact. And why do all the best indie pop bands of this era (and adjacent years) all seem to be Scottish (Belle & Sebastian, Camera Obscura, Trashcan Sinatras, Arab Strap)? This would make a great addition to the list proper (in the hidden gem category).

Impressive, and a lot to like but also a touch overdone. Opens like Quadrophenia. A lot of strong passages but stuff that also loses a listener not fully bought into the plot. Not quite worthy of list proper one would say, though one might be tempted to listen again and seek out tunes by his real band. (And don't sleep on Stephen Wilson, Jr., strong emerging country artist.).

The opener engages immediately – right up one’s alley. Love the talky Callahenesque, Kozelekian, Bermanesque vocal style and the lyrical content is Le Carre meets theater of the absurd. Just great. Rest of the record overindexes on the zany rather than the wry. But last two cuts – "Travel Writers" and "Industrialists" – really redeem. Strong all the way around. Great choice -- one's very glad to know this lot and will dig more in future. Could certainly see on the full list. Besides aforementioned, one's tasting notes reference Pavement/Silver Jews, Cake, Johathan Richmond, Lambchop, all likable referrents.

Was gonna say likable but generic. But after a bit of research, it seems better to say, likable and genre-creating. And further research indeed confirms it's better with a room full of ganja – so likable, genre-creating and ganja-enhanced. Conclusively belongs on the list proper.

Great choice, if only for the cultural impact. Remember it was great music first – if cuts were dodgily chosen cuts, then they were played with great verve and sharpness and probably more irony than was recognized; the game show and sexual revolution tie-ins came later. Hard not to like, though the silliness trumps the seriousness in the end and it's hard to know whether its mass popularity is a good thing or bad thing, whether it's an indicator of sophisticating tastes or the widespread public susceptibility to being sold anything.

Richly tuneful, intriguingly melodic, dimensionally complex, with just enough drive and melancholic minor keys to make for a most satisfying listen. Can world music be said to be worldly? Or is that the desired effect for the target audience? Which might help explain the slight guilt/embarrassment one always feels listening to (what was one called world music or anything released by Putumayo). Would hold its own on the list proper but doesn't feel like an imperative add.

At first glance this reads simply as more serviceable and fairly typical psychedelia (bluesy-garage guitars: check; sitars: check); another record/artist that’s been mostly lost (or just forgot) from the Age of Aquarius, and that doesn’t necessarily feel full-on essential. Certainly it’s of interest to scholars of the period and deep-divers/aficionados/nerds of the genre (and/or affiliated subgenres). But deeper listening reveals a superior and more varied effort. Maybe one could say the bassline on “Walter Sly Meets…” points the way forward to the foundations of driving New Wave bands. Maybe one could say “Mary Jane” swings sweetly and that “Flames” a tight, driving hit-worthy cut, to which one can imagine go-go-boots-wearing birds having a good and sexy time on the dance floor. The lighter-poppier cuts – ”What’s the Point of Leaving” and ”Long Nights of Summer” – are more than competently executed, if not quite achieving unforgettability. Could add that “Reactions” offers lyrical quality (“Don’t ask for love/that would be impossible” and “You could offer the world to me / But I wouldn’t care”). But honestly one can’t go much farther than that. On list proper, maybe there’s room for this or the Electric Prunes or Moby Grape or Monks, say, but not both (or three or the four). Personally, one finds EGVO richer and better listening experience than any of those, largely down to the varieties and sense of control (they overdo nothing, save maybe the intro). NB: the silly/complex name is an issue, obvs, likely contributing to their being forgotten/overlooked despite one’s being fully down with Sinclair Lewis (Arrowsmith being his best novel).

Has a savvy and well-moderated sort of majesty and generally avoids overreaching (so not too proggy), while offering many pleasingly expansive riffs and grooves (so sufficiently proggy). The harmonies of the dual lead guitars work fabulously well, adding bracing richness and intriguing contours to the powerful melodies. "Time Was" is likably dreamy and sweeping in its reach, then goes a bit hard before segueing niftily into the slightly more contemplative (and lovely) "Sometime World," which then all-out explores Yes territory (mostly to good effect) with extensive and intricate (and non-embarrassing) solos. "Blowin Free" feels more jammy (with vaguely Southern rock overtones) than proggy. "Leaf and Stream" is thoughtful, haunting, shadowy. The "ancient Greek" cuts aren't exactly Homeric to one ear's (nor Hesiodic for that matter) but don't have to be because they're cool and interesting. One likes the stateliness of this record much better than their influencees – Thin Lizzy lacked this depth and maybe the Iron Maiden dude is confused about which band / record influenced him. It's more like Rush or Triumph (less the insistently shrill vocals). This would fit nicely on the list proper, especially if it replaced some of the non-essential prog (looking at you ELP).

A spun-sugar pop confection. While they sound fun and sweet enough, one recognizes that the basic problem might be that one never kissed anyone on a teenage summer night whilst listening to these precision-engineered songs. When she gets older, maybe she'll come to know that love doesn't require this level of energy or BPM. One would also be interested to hear her do a version of Chet Baker’s “Let’s Get Lost.” No need for this on list proper.

Perfectly chill and relaxing. Also anodyne as all get out. Hard not to like, but also hard not to be underwhelmed. "Staple It Together" and "Crying Shame" suggest the what was possible had he gone a bit darker or funkier. Still, it's not exactly sinister. He does it make it look easy, however, and there's something to be said for this. Plus, one's kids dig JJ so going with a soft 4. The list would be improved by adding this, especially if it replaced some of the more pointlessly angry punk records, any of the bludgeoning heavy metal tracts or Scott Walker.

Seems complete to one's ears, given its excessive layering and somewhat giddy and relentless tinkering-ness. But sure, one supposes it coulda been clearer/cleaner in overall sound, though one's not convinced it woulda been any stronger, actually. There are decent hooks and here and there and it's fully vibesy in a way that woulda felt new-different in 2013, but this is entirely too synthetic for one to feel much personal connection. One could get behind this replacing NIN or Marilyn Manson but otherwise the list proper will have to do without Jai Paul.

One digs the overall vibe and appreciates the calm and refined playing (e.g., horns on “Anyone” or strings on several cuts.). The shimmering strings that lead the fade out off “Feed the Light” are just lovely. “Sweet Thing” puts one in the mind of PJ Harvey’s quieter younger sibling (and “Endless Supply of Poison” sounds like PJ Harvey herself and thus feels a bit out of place here). Though one wouldn’t mind slightly more tunefulness overall, this is consistently strong and interesting and well worth knowing – thanks for sharing whoever recommended – and would certainly enhance the list proper (especially if replacing any of the heavy metal albums, say, or Alanis M).

However much it's said to be influenced by MBV, it should have been more so. One's intrigued by how far away the whole thing sound – the effect of a hushed distance prevents one from feeling overwhelmed by the heaviness and volume. "Dying in A Minor" sums things up pretty well. Still, it's better than Metallica and list proper might be improved by such a switch-out.

Cannot countenance. Zero stars.

Dear fellow child of the ‘80s, thanks for recommending this. Really enjoyed listening for the first time since … well, the ‘80s. It was so big that it probably merits inclusion on the list proper, though it can’t really be said that it’s held up all that well musically, which is no surprise given that time had already passed him by before one graduated high school and he never caught up. One shudders to think where he might be touring today. While he’s certainly bigger than Tommy Tutone, it’s an issue when “similar artists” queries turn up Loverboy (yikes!) and Pat Benetar.

Decent hooks and variety of dynamics, but the screaming gets old fast. Might've it been better as an instrumental record? This is very much not one’s thing, never was, and so one can’t speak to “influence.” Production is notably superior to the music making, at least to one’s ears. And if you’re going to have such a title, the music should be better.

Really lacks flows (save for the last song, title cut, which is easily the best track on the album) and feels like an overwritten, excessively talky novel with greater ambitions that it can execute. One completely misses the value and appeal of the real-time effect, which asks a lot of the listener and fails the "so what?" test. And Waters' voice grates in direct proportion to one's interest in the plot. Sanborn and Clapton both make decent contribution.One likes the choice (having enjoyed the reocrd in the past) but struggles to get too excited about it now (and even RW seems to have downplayed its quality within a decade of release, which tells one all one needs to know, really). Certianly The Final Cut is a superior effort (which maybe Waters did too since he recycled some of melodies and lyrics here). So don't think this belongs on list proper, though The Final Cut certainly should soon. For the record, one prefers the nudie version of the cover.

This is tense and dynamic and spiky – quite Slint-ian and vaguely Pere Ubu-esque in effect. The screaming early puts one off, but it gets better with slower/sparer passages (see "Sensible" and "Lady Elect") that suggest thoughtfulness and contemplation and ultimately deliver something like majesty. One would certainly trade this any of several other early punk bands (e.g., Minor Threat), primarily because it might merit a second listen.

Lovely and life-affirming from the first note, this is beautifully/gently vibesy and cerebrally dreamy in the extreme and an epic sort of statement by a major, major talent. The lilting, sneaky-intense “Back to Oz” is top cut. One’s reminded of the need to go both deeper and wider in the extensive discography, though it’s safe to say that it might be a little samey, having heard a good bit of it already. Overall, this is a great add — thanks for sharing/nominating. Would be a strong add to list proper.

At first glance, one feared/assumed this was the eminently forgettable Skinny Puppy (though this band name is slightly worse than that already lame one). At any rate, one was quite relieved at the expansive and exploratory playing which offered some transcendent moments on synth solos, wah-wah noodling and sax outpourings. Not to get all semantic, but one finds this considerably more jammy-proggy than jazzy. (Kamasi Washington would be a better representative of that esteemed but underappreciated genre, or Robert Glasper or Esperanza Spalding or Chief Xian aTunde Adjuah or even Gregory Porter and Cassandra Wilson). Still, this is a strong add and one plans to go a bit deeper into the Snarky P catalogue.

Punk band decides to go disco — film at 11. And did someone say Giorgio Moroder? He would make Beethoven’s 5th sound like this. Just way too synthy for one to get into or take seriously, but yes, sure, for 1979, it sounds awfully 1981, or '82, or '83.

Smart, sarcastic and tasteful pop. Knew earlier records and was long on the Housemartins, but didn't know this effort, which one digs considerably. Very pleasant to hear musically, the smooth surfaces belying the rather darker and more troubling lyrical material. Heaton as the Bristish Randy Newman, maybe? Good add -- thanks for sharing.

Historically interesting (particularly as bootleg artifact that got mainstreamed, basically), but musically inert and flailing (if any can be such at same time). Interesting that bikers seem to want "Louie Louie" (which alway's considered a fave for '50s-'60s frat boys and other squares) and that Izzy mocks crowd by touting his take on the night ($10,000, a figure about which one is skeptical, to say the least). Perhaps he was better as a mockingly crowd-controlling emcee than as a vocalist. This doesn't belong on the list proper, and is only for fans, as others have rightly pointed out). of course, as a non-Stooges fan, one doesn't think any Stooges records (and certainly not more than one) should be on the list proper, given how they've gone from once underrated / forgotten to significantly overrated / overexposed.

One knows he’s a phenomenon but one doesn’t fully get it and so struggles with this one – and with this style/genre and era of popular music, the sort of synthetic sheeny-ness of it (which is meant to be futuristic, one supposes). One also doesn’t know whether Weeknd or Frank Ocean (or know who came first or is one is derivative of the other). And Janelle Monae might be better than both. Dream pop? More like dream pop simulation. And certainly don’t get the psychedelic vibes some reviewers cite – today’s younger listeners (and reviewers) may simply be confused as to the meaning of that term. The boasts are tired and not credible in the least (as it’s not a hip-hop record and are perhaps meant to be ironic anyway – like “never lived in $20m mansion – okay, sure). The vocal style is nowhere near soulful (or soulful enough to be anything like R&B anyway). The production style and auto tune (ab)use is the musical equivalent of CGI — not good –– this generation seems to think special effects suffice for and as music. Indeed there’s a marvel cinematic universe effect here that makes this hard to grok (much less to engage emotionally). One’s okay with the Philip K Dick reference (even in context of a sophomoric joke), not as much the b-list actor name-dropping (e.g., Patrick Swayze [which rhymes well with Jay Z, of course] and Keanu Reeves [would this be how Mr. Weeknd sees himself? and if so does it reveal an inferiority complex perhaps?]). The title track is best (i.e., most tolerable) though “Snowchild” has a dreamy sweetness). The vocal style is meant to a prepubescent boy perhaps (like Moses Sumney without the ceremony or seeming ritualism)—but soon annoys. And who is this for, exactly? Teenage boys ? Teenage girls? Club kids in their 20s? Pre-menopausal milfs? Gay men? Whichever, clearly one’s not in the target demo. Which, okay, fine, as it’s all too fakey to last other than commercially. This would add nothing to the list proper and one is simply not down with it and struggles to see how the effort to get so would be worth it.

Great show, what a performance. They were already so good relatively early on the path to greatness. Video is amazing, too, old rat-like Bruce such a far cry from what was to come. Rounding down because live albums don't fully count.

Bright, sunny and poppy, one has vastly increased one’s knowledge of Brazilian hip-hop and can now say one has a favorite Brazilian mc. This is just pure musical enjoyment, as easy and relaxing as a day on the beach. Last few songs are of a notably different tone and feel and significantly undercut the plus and positive vibes. Spoken word bits should be cut. Would be a fun add to list proper, just for the sake of globalization and diversity of vibe.

Have always liked the name, but find the music on the meh side, for its very straightforwardness and generic '90s ALT rock vibe (in guitars, drums, vocals, production). Frankly, one expected more irony; after all, the name suggests the TH would be more Pavement, than Bush, say, or Third Eye Blind (which might have named themselves the Terminally Earnest). Reputationally, in the US, they seem comparable to NRBQ, with a small devoted following that assume their lads are just too subtly good to be got by the masses. (Guess we know from which of those cohorts the recommender of this comes.) Not that this is bad, just sort of flat (Wikipedia emphasis on the cover art might've signaled the musical apathy to come). And no wonder everyone in Canada loves the Hip – with all the nationalized lyrical references. Can't say the list proper would massively benefit from including this record, but rounding up because one rates Canada and respects her cultural institutions.

The jazzier, jammier side of prog, innit, with sophisticated notes of classical and chamber pop. The playing is strong throughout, especially the drumming, bass and sax work. Delighted to have made the acquaintance of this pleasant soft and meandering and dreamy record – thanks to the recommender for sharing – and think it would enhance the list, even if it had to replace some other prog entries (looking at you, KC).

Decently direct, hooky and clean alt rock, but not one's thing, really. It's perfectly fine but decidedly non-transcendent. One's not looking for any (more) Screaming Females in one's life so would pass on adding this to list proper, but certainly get the appeal for others.

One likes the name of the record and what one takes to be a general positivity and competent+ playing, but it's a bit too earnest and straightforwardly alt/post-grunge (same ol' shearing guitar licks) for one's tastes. Can't argue that it's "one of the best Christian rock albums of all time;" that sounds about right but one's not qualified to judge, and anyway that's faint praise, isn't it?

Tuneful and easy on the ears If one spoke Spanish, one would almost certainly be inclined to sing along. The rockier songs seem less effective, but one senses some irony and perhaps even some outright piss-taking in the husky-voiced singer. One will check out the poetry, though.

Brash, assured and extremely strong for a debut. One likes the vocal attitude and tight playing and lyrics, which are just what you want from disillusioned and literary-minded youngsters, no, with ample passion, and manifesto-like proclamations (e.g., "Chequeless Reckless"). They seem like torch-carriers for a certain indie rock style – a quite polished version of punk. Plus it's easy to root for them because theyr'e Irish. "Roy's Tune" (for its emotional depth and melancholia) and "Dublin City Sky" are preferred cuts but really the whole thing works well as an integrated whole, even if some songs seem to never to fully resolve and maybe "Too Real" should sound more like the Eliot poem it quotes (though full marks for quoting Eliot in the first place). DCF have continued to mature nicely in the years since this release, which is encouraging. Belongs on list proper, maybe replace Fetch the Bolt Cutters.

Not bad and certainly better on headphones, but too synthetic to personally engage and when it comes to kicky French kids with synths, one prefers the rather more cerebral Stereolab to these lightweight and cartoonish characters. Too many songs feel like a lark (e.g., "Harder, Faster, etc" "Short Circuit"), and usually not in a good way (e.g, the fading TV show soundtrack opening to "Digital Love" works well, however). The vocals rarely feel convincing, and seem like an add-on or afterthought. The better cuts have a touch of contemplative soul or melancholy softness (e.g., "Veridis Quo"). It's entirely possible it's a function of one being too old to get the jokes or subtleties (other than "Nightvision" softly quoting 10cc, which along with "Something About Us," which evokes Bill Withers through the lens of Thundercat one thinks, are best songs here). Plus this goes on way too long -- as the title of the closing cut seems to acknowledge. Could be added to list proper if switched out with other DP discs because they're kind of all the same, right?

Interesting and pretty engaging, well produced and effectively played (plus additive cameos), but it does seem a bit much and too, um, theatrical for one's tastes. Her voice is annoying, for sure. One more admires than actually feels entertained by such records as this but certainly wishes AM well as she clearly had a vision. One would not add to list proper if one were in a position to do so.

Strong add to the list, though the earlier, rockier records might be the slightly preferred. Certainly they were more Beatlesque and energized traditional pscyhedelic (as well as some blues-rock) tropes, this is softer, more ethereal and leaning into bouncier and lighter pop vibes. On some cuts, that makes for a richer, dreamier and more emotional aspect (e.g., "Eventually") that the first two records lose with louder guitatrs. The disco perhaps make it more accessible to more listeners. But it can get dangerously synthy and A-ha-like (e.g., "I'm a Man") and maybe the studio perfectionism lends a touch of sterility. Still, excellent recommend for an interesting and important artist. Definitely would fit on list proper.

Fierce and tight. Not necessarily one’s thing though one feels that young people making such music confirms a certain rightness with the world. Super Aussie accent on the vocals. Opener – with its relentless “energy … heavenly” drive “Security” and “Knifey” seem the best cuts. One might slightly prefer the Beths in the femme-led punky Down Under bands (though Beths are notably poppier or more indie rock, and Kiwi anyway, one thinks). Still, pretty good. One’s neutral on whether this belongs on list proper though it would notably raise the energy level if it replaced some of the dirgier Nick Cave entries (just to keep it balanced Ozzily).

Raw and inchoate, yes, but also raw and powerful. The angular attacks allows room for both discordant thrashing and a little melodious meandering. One missed the band in real time back in the day, knew of them, just never fully engaged. But this has held up well and one might be inspired to explore more, including the later work that others seem to like. One would have to check timelines exactly to see how Sonic Youth Jr or Dinosaur Jr Jr this actually is, but it seems different enough. Thanks for recommnending – one would not at all mind seeing this added to list proper, right there along Pere Ubu, say.

Starting with a solo tells one everything one needs to know about where this is headed. The playing may be bad ass (or whatever would have been the right adjective in ‘74) but it seems mostly troglodytic and cliched today, with nearly every song sounding samey, in same tone and tenor, with too many about rock and roll (always a bad sign). And it’s this kind of record that gives anti-rockists fodder for their arguments, surely. Best songs are those that vary from the template -- "Lay Down Your Sorrow" and "Love Song to Me." Also, this is just not one’s thing. As there’s plenty of this already on list proper, one can’t in good faith recommend its inclusion. Cover might be best thing about the record.

High energy and high urgency. If not fully transcendent to one's ears, one can understand how others (probably younger people, with more ambition and bigger dreams and more recent/important seeming disappointments) might hear it so ... and triumphant, too. It's flag-waving music, passionate and heart-on-the-sleeve stuff, the kind that might inspire sincere determinations and earnest resolutions (perhaps born of anger or perceived slights) to change one's life for the better -- to never being treated like this again for or never doing that. "Do Not Let Your Spirit Wane" is particularly bracing – a song that one's taken solace from in the past. Songwriting wanders a bit into excessively confessional, emo-esque (and very much millennial) territory. Strong title and band name, too, if that matters, which one thinks it very much does. It's a bit too long and a bit too sprawly, asking listeners to sustain an emotional intensity beyond one's own limits. Can't say one'd recommend for list proper, other than 75-100 records that it's clearly (okay, objectively) better than. Also, whole lotta Aussie bands on this user list, huh?

One hopes this served as an effective mourning strategy (or primal scream therapy), because it doesn't offer much musically. One can't abide the vocals, other than the first half of "Benediction," say, which seems almost like a normal indie rock song, and "Skyscraper," which is easily the best cut (no screaming will do that) and very much a proper indie rock song. Chiming guitars on "New Halloween" are decent, as is the rumbling bass and rhythm of "Palm Dreams." "Softer Spoken" very much should have been. Otherwise this is forgettable, and woudln't suit the list proper (though one might prefer it to most of the Metallica on offer). Recognizing this is definitively not one's thing, one's nevertheless intrigued by the question of who thought this merited a Deluxe Edition.

One's fully onboard with this quality Krautrock – and very much enjoy it being on the contemplative side though it can seem borderline inert at times. One has no idea what a "Folschi Tong" or a "Rote Riki" or "Heise Lippen" (best cut) would be but mostly dig all of the above. Not sure this would add much to list proper but certainly seems on par musically (and musicologically on other albums of this ilk and era).

Shiny and splashy, bright and flashy. One likes that many young people are seem to be choosing newer rock or bands (see also Amyl + Sniffers, recently served up in the completed user lists), to encourage one and other oldsters that rock 'n' roll is still in good shape. One likes this record for that reason – these young things rocking true, with purer energy than one has now and an admirable sincerity. Beyond the despairing "total cancellation of the future" (great line), one can't discern anything specifically socialistic or anarchistic or vegan in the music; and it's not even too angry feeling or mopey for that matter – the Sorrows of Young Werther in day-glo (sorta), title cut suggesting classic youthful confusion and self-struggling. Not at all dystopian, it all seems rather more straightforward and much more fun and bouncy, eager to please, even less experimental or severe or offkilter or different by intention than one would've expected for a band famous for their political commitments. Plus, there's a Huey Lewis reference – incongruous, to put it mildly. Anyway, dig it, not only because one could be safely considered a fellow traveler in terms of the collective spirit and think it would work well on list proper, replacing NIN or Marilyn Manson or Offspring or Prodigy, because thoughtful and optimistic (which at least this records sounds like) dissension trumps shock value anytime. Feels like one might be patting earnest young Martha on the head ... which wouldn't be an inaccurate description of how one feels about this lot.

First and foremost, if the recommender meant to offer this as a direct rejoinder to it being excluded from list proper (and to protest John Zorn’s purported tribute), then full marks. One doesn’t get a ton of emotion out of it, which the elite critics seem to emphasize – with the all the austerity and angularity – but agree it’s more accessible than its reputation suggests. And not far from West Coast dryness, either. And if not emotional, then fully engaging, especially “Lonely Woman” and “Chronology.” And love how geeky-school-teacher-y and preacher-ly, even clerical, he looks on the cover. This would be a beyond-worthy – and actually tremendous – addition to the list proper, replacing Zorn’s entry would be perfect poetic justice and a huge improvement – the thing itself, as it were.

This is decent+ (and maybe decent++) and right up this indie rock traditionalist's alley – good enough for one to consider exploring more. It's maybe a little too earnest here and there (oh these millennials with their latent emo tendencies) and veers dangerously close to Radiohead tribute band territory at times, but warmer than than that on balanced, plus being pretty interesting on its own terms and well crafted besides. The back story seems borderline absurd, though Pitchfork review is entirely too harsh. Can't say one hears a ton of difference between the two versions of the album or has a strong preference either way – both are solid and enjoyable. Dumb band name, however, if that matters, which one thinks it very much does. Though one choose to listen to this over at least 75-100 records on list proper, it might not quite fully merit a place.

Right up one's alley, somewhat melancholy, but ultimately hopeful and occasionally beautiful (if not quite fully transcendent) indie rock. It's buoyant and hooky and tuneful and holds together from beginning to end. Doesn't ever get too Coldplay-y., which is a risk of course, particularly on the rather majestic crescendo of the closer. Dumb album name is balanced by cool band name, if one thinks such things matter (which one very much does). Would certainly add to list proper, if only to inject some Danish energy.

Just can't abide. Seems more metal or like thrash-alt than post-hardcore. The scary voicings are extremely hard to take seriously. Rounding up (from zero to one) because Canadian. Definitely would have it replace any of the bottom 10 on the list proper, but that's the type of company it would/should keep. Watch out indeed!

Clear evidence that mid-career reinventions are possible, though exceedingly rare. This is delightful, even if one doesn’t buy into the full story and narrative (another artist exploring stories of prog-rock-esque complexity), which really should be left to the novelists anyway. But the dry sense of humor and assured thoughtful (and occasionally glimmery) playing. That they continued on with their next album, too, confirms that they were up for this shift. One once conceived of them as the British Green Day, but this record (and the next) prove that that’s a far too narrow a comp. One knows it's divisive among AM fans, but it brought in at least one new fan, who'd be happy to see it replace the existing AM album (which is strong) on the list proper (but this one is a bolder statement with a higher degree of difficulty). Good choice recommender.

Gossamer light but very listenable. One digs the mellow, woozy vibes right out of the gate. One finds oneself increasingly drawn to chill pop (though maybe one means pop chill). Will keep listening to this lot, for sure.

This would be more with less jokiness. This and Wu Tang-Clan’s Kung Fu narratives at times seem like prog rock alternative world building – and just tediously Manichean. Otherwise, this is quite good, with intriguingly offbeat and surprisingly different beds and beats (more hip-hop records should sample accordions). That there is an instrumental version of this record speaks volumes about where the strength lies here, though the controlled, talky flows often work well (and also sound original). “Raid” and “Curls” are among the standouts, but the whole mosaic works well. One’s down with many of the samples, including Bill Evans, Sun Ra and Joe Tex. As a “touchstone of lofi hip-hop” not sure how editors miss this, which could reasonably supplant a half-dozen of the hip-hop albums on list proper.

Epic but mostly in the sense of being overly long, overly self-serious and tedious in the extreme. Sure, it's a juggernaut but of gudge-gudge-gudging guitars and bouncy, trampoline-like drums and vocals that sound like a VO audition for a bad horror movie. One can neither abide nor in good faith recommend for list proper (though switching out with any Metallica record would be like for like, in one’s view, a fair swap indeed).

When a band has a song with a devastatingly memorable hook (e.g., "Cannonball") and one that is much better than the rest of the songs on the record, then they should – indeed, must – make it Side 1, Track 1. That's one major beef with this record, which is solid+ and strong overall, with a handful of gems one's long since forgotten ("Drivin' on 9", "Saints"). , "Divine Hammer" is also a fond memory and holds up well. Bonus points from being from Dayton, Ohio, a town one knows all too well (and not always fortunately).

Gorgeous, so glad / grateful to be introduced to this, will get incorporated into heavy rotation in mornings. Could / should replace Aphex Twin and other sterile ambient offerings in list proper.

One vaguely remembers this lot from the real-time late-'80s and remember thinking they were trying too hard then and, despite "Tell That Girl to Shut Up" being not too far off the mark, weren't worth one's attention. It didn't make the cut at the college radio station where one worked, though one remembers some grumbling about it (from the A&R guy, probably, who figured he could dictate what was to be played). Poor man's Missing Persons, basically. Today, one's reaction is the same, only more so. None of it's aged well at all – the guitars they thought were edgy read cheesy; the production they thought was top line sounds tinny (and cheesy); the lyrics they thought sassy and provocative are trite (also cheesy). WJ's spiky-aggressive frontwoman persona needs a bit more Aimee Mann, and less Madonna. Actually a lot more. Slowing it down (as on "Sister Moon," eg) only exacerbates matters (adding extra cheese where there's too much altogether (to be fair "Wild Star" and "Hanging Out with Halo Jones" are halfway decent, and suggest where they might have broke through by dropping the proto-hair metal guitars, mainly). Similarly, "Andy Warhol's Dead" should have been a hit – a song with such a title and concept, really should have been made better, but it comes too late, honestly. It seems clear now that they were trying to split the difference between MTVish new wave and more direct punk (with the clubby "Sex Kick" thrown in). The recommender here must be a child of the '80s, and so assuming an allyship on that point, one feels compelled to suggest maybe choose records that don't confirm the worst of that decade, of which we have so many fond memories and during which our psysches, spirits and musical personalities were formed. (Lone Justice, maybe, or Alisson Moyet, or 10,000 Maniacs, or Til Tuesday, or Big Country or another Replacements record). One aims to be fair-minded about such things, it seems like they were critical punching bags for a reason. As such, one can't in good faith recommend this to list proper, though of course it would be a fine replacement to all the heavy metal discs.

Fun and definitely above average cool. What an albm title, though. "Pata de Perro" is fave cut. Glad to know it. Gracias to recommender.

Generally likable, competently executed and right up one's alley in terms of genre, though one's not much moved in the end. Maybe gets a little emotionally overwrought. As with a lot of "concept" albums, one's not much compelled to figure it out. Maybe could switch out for those Manic Street Preachers or Last Shadow Puppets on list proper but that would be largely like for like.

Stay classy, San Diego. Seemingly overlooked in the ongoing debate about just how far outside punk this is (obviously way outside according to major gatekeepers’ and purists) is whether or not making punk more accessible and safe for mall rats might be the punkest thing of all. But more to the actual point, this is silly and puerile, sophomoric and jejuene and seems maybe to have got more so over time. Its appeal to a certain cohort also seems clearer in retrospect, thanks to the pristine production and catchy hooks. Blink-182 certainly did not go broke (and appear to have had fun in) underestimating the taste of the American public (or at least suburban teenagers), though it's not clear they had any better taste; they also made themselves entirely deserving targets of elitist critical disdain. Maybe that’s a fair trade. Certainly doesn't belong on list proper, save as a replacement as Britney Spears, whose at least as punk as this lot, at least in one's (not entirely informed) view.

Good job recommender for choosing a sacred genre's Rosetta Stone. it seems so obvious, one wonders how the editors could have missed it. What a delight to hear after so long. "Potato Head Blues" and "Struttin with Some Barbecue" and "West End Blues" are sounds of pure joy – musical miracles hiding in plain sight – among the most important songs ever recorded. It's easy to dismiss Satchmo (for being more of an entertainer, etc.) but would every genius wear such a bright smile. Easy 5 – could/should replace virtually any record on the list proper (very much including Sinatra).

Dramatic and interesting, occasionally dreamy and lovely, but with the usual prog downfalls (overwrought, overlong). Still one prefers prog that errs on the side of beauty, not bomast. And one might like it better if one knew what was being sung. But glad to be introduced to it, overall. Would suit list proper, one thinks, and replacing ELP (speaking of bombast) would be a distinct improvement in the prog subcategory.

Impressively manic and relentlessly sharp-edge. One hears as many prog flourishes as metal effects, but ultimately doesn't care about where they slot most comfortably genre-wise (if only because one won't be listening to them much, if ever). Infinite looping sounds like a terrible idea and the band name is unforgivably stupid (begging for a full point off). Relative to list proper, this would be an upgrade to most of the metal acts.

Weird and whimsical, warm and wonderful. As polarizing as BT have become (and AL I particular), one’s just about fully down, given their originality, humane spirit and willingness to let a freak flag fly. And like a lot of first-rate bands, their getting better also saw them getting stranger and more distinct – seems more than a coincidence.

Same reaction one had after seeing them at a festival a few years ago: WTF’s up with the name? And wait these cats (er, bunnies) are good. The edgy and uber-earnest, emo-inflected intensity and drive are largely effective, a decent extension and freshening of indie rock tropes and templates (so, right in the sweet spot of one’s musical ancestry). The slight edge of desperation in the vocals (the straining, the wavering, the reaching) reads as sincere and vulnerable and authentic – indeed, it’s what authenticity and vulnerability and sincerity have always sounded like to young people. The polish and emotional weight and overall likability make this a band to learn a bit more about (back catalog) and keep an eye out for. They definitely seem to have the right fans, too, which is a plus.