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.

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.

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).

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).