"Music for the Masses" is the 6th album by Depeche Mode. It was produced by David Bascombe and the album title was meant to be tongue-in-cheek as the band thought the music was anything but for the masses. And, on the surface I would agree with the music dark and the songs about sex, sin and drugs. However, this album (and the previous one "Black Celebration") pretty much taking these guys beyond sort of cult status to playing in front of 60,000 people. The music is eerie, hypnotic and I must say I enjoyed more and more with repeated listens. The songs switch lead singers between David Gahan and Martin Gore with a definite flow to this album. The album contains some of their bigger hits. "Never Let Me Down Again" starts things off with a great dark and hypnotic intro and appears to be about drug use seeking euphoria. Obviously, Gahan at the lead here. "Strange Love", another big song and great intro, adds more of a dance beat. An interesting take on probably sinning (cheating) and keeping a relationship. "Behind the Wheel" adds even more of a dance beat and really sounds like early Depeche Mode to me. I love it when a song has an emotionless feel and is good. This is one of those. Not having a dance beat but creating an eerie, almost Goth feel is "I Want You Now". Martin Gore takes the lead here with Gahan groaning in the back. Lust the theme here. It has been awhile since I listened to this album and I thought it might sound dated, being of its time. I get some of that but it still sounded great and you can see why they became so big.

"Metal Box" is the second studio album by English post-punk band Public Imaged Ltd. The music is considered experimental rock, dub, avant-garde and a landmark of post-punk. The album was a departure from their first album being more avant-garde with vocalist John Lydon's cryptic, free-form lyrics, bassist Jah Wobble's dub-inspired rhythms and guitarist Keith Levine's abrasive guitar sound. It was recordered at various locations throughout the UK with multiple drummers. The album title was from the initial packaging which was a metallic canister containing three 12" 45-rpm records. Commercially, it reached #18 on the UK charts. A drum beat begins "Albatross." Here's your abrasive guitar- very high pitched, prancing along and at times off-key sounding. The song was recorded live with Lydon admitting he just free-formed the lyrics. Somehow, this works. A slow bass, an echoing guitar and a hypnotic dance beat introduce us to "Swan Lake (Death Disco)." Lydon screaming/singing as he tells about the death of his Mother from cancer. Levine said he was trying to play the Tchaikovsky ballet score "Swan Lake" and created an extremely unique melody. It's chaotic. A fantastic song and for me, the first song I think of when I hear post-punk. "Poptones" has an odd drum beat. The abrasive metallic guitar and prodding bass in the background. Lydon talking the real story of a girl kidnapped, put in a van and led the police to the van after describing the music which the van still had the cassette of in it. Levine's guitar melody was created as he was inadvertently playing Yes' "Starship Trooper." The band goes totally electronic in "Careering." A propet synth was used and we get laser sounds, sounds from outer space and other sounds. The song is about a Nothern Irish gunman "careering" as a professional business man in London. Lydon wrote this specifically about a person he did not like. That's probably quite a lot of people. This is a great album. The guitar gives a haunting, eerie, angular and abrasive vibe. The drums, beats and bass are odd and unique. Lydon seems to be improvising throughtout and he admitted as such. I like the one comment I saw describing it as subterranean. There's a lot of experimental songs and parts of songs especially with the synths. I honestly don't know if I heard anything before or after it quite like it. I'm sure there's something. Definitely not for everyone but if you like experimental, this is probably for you.

"Playing with Fire" is the third studio album from the English neo-pyschedelia space rock band Spacemen 3. The two main members of Spacemen 3 were Pete Kember "Sonic Boom" who went on to produce indie bands and Jason Pierce "J Spaceman" who went on to form Spiritualized. Well, forget what they went on to do for the time, this here is quite the album with some very high, high points. The music is pretty much an intersection of The Velvet Underground, The Stooges and Suicide. Yet, it is their own, almost a genre unto itself. Spacey keboards/organs, multi-layered guitars. Yes, I'm in. "Honey" gets things going with an organ giving a church feel (not the last time). A slow guitar repetitively playing one note a la The Velvet Underground. Spacey keyboards. Distorted lyrics. A love song. Alright, let's go and wake me up on song five, "Revolution." This is hard rock...distorted guitars, drums. The lyrics obviously mimicking The Stooges..."I'm sick. I'm tired." A song promoting drug use. Getting told what to do by people and the government and fed up. Ends in guitar chaos. A brilliant song. Let's continue the brilliance with "Suicide," an 11-minute ode to the band of the same name. Distorted, reverbed guitars. Repetitive noises and beats. A repetitive drone sound. This song reminded me of what Spiritualized would become. Great guitar end. The album ends with another great song "Lord Can You Hear Me." A very soulful and spiritual sounding song and a cry to God for help. At first I thought I was listening to R.E.M.'s "Everbody Hurts" with the slow guitar. A fitting ending. Being a a fan of The Velvet Underground, The Stooges, Suicide and Spiritualized, it was pretty obvious that I would be a big fan of this album. The songs that I mentioned are some of my favorite songs of the 1980's. A very high album recommendation from me.

Marvin's 13th and most successful album. This is smooth, smooth, smooth. A very easy listen. Some classify as smooth soul or slow jam. Sounds good to me. You definitely hear its influence on future late 70's/early 80's R&B and soul. Apparently, this album was a change in typical Motown recordings in that it was free-flowing album-oriented as opposed to their typical album containing-hit singles-next-to-each-other format. Certain artists have that liberty and I would think Marvin Gaye would be one of them at this point. The themes of these songs are very straight-forward: romance, lust and sex. Marvin's music and voice take it to another level. Some song highlights for me: the title track "Let's Get It On", "Keep Gettin' It On" - similar to the title track with a little more funk, "You Sure Love To Ball" - smooth jazz background music and a great female moan and "Just to Keep You Satisfied" - tremendous vocal performance with sweeping orchestral music. Really not a bad song on the album. I recommend listening to this album as a whole; there is a great flow to the music.

"More Songs About Buildings and Food" is the Talking Heads' second studio album and the first of three collaborated with Brian Eno. The music is more rhythm and dance driven with quirky, jangly guitars and Eno's keyboards overlaying. Tina Weymouth (bass) and Chris Frantz (drums) really come to the forefront and in a lot of these songs. David Byrne's lyrics are sometimes about relationships, other times not. When they are, it is usually in a weird and original context. This is a fantastic album. The album cover is a photomosaic using 539 close-up Polaroids. Another interesting fact: the song title comes from a title suggestion for their first album of "Songs About Buildings and Food." They just added the More. The rollicking "Thanks You for Sending Me an Angel" begins the album with drums kicking in. Percussions would be added later. Somewhat chaotic/frenetic guitar comes in. It appears to have somewhat non-sensical lyrics...about parenting a baby? The song was a definite highlight of "Stop Making Sense." The first side continues the fast rhythmic pace and ends with another "Stop Making Sense" standout "Found a Job." Here's where Weymouth and Frantz really lay the funk. Weird and interesting keyboards. Some more original lyrics about making a relationship more interesting than what the couple sees on TV. One of my favorite Talking Heads songs. Side two continues the pace but ends on two slower-paced songs. Tina Weymouth lays a great bass line on the Al Green cover "Take Me to the River." Great vocals by Byrne and a somewhat surprising US top 40 hit. Slide guitar highlights "The Big Country." Does David want to live between NYC and LA or doesn't he or is he poking fun at coastal elitists? A lot of days " More Songs About Buildings and Food" is my favorite Talking Heads album which is saying a lot since they have a few outstanding ones. Obviously, an album highly, highly recommended for a listen.

Great album

I never owed this album. I didn't need to; all the songs were all over the radio and TV. Top notch pop production with some stud session players. Heavy synthesizer per the day but still sounds fresh. Of course, Cyndi Lauper's voice and vocal range are the stars. Six singles were released from this album with five hitting the Billboard top five: "Girls Just Want to Have Fun", "Time After Time", She-Bop", " Money Changes Everything " and " All Through the Night." Her cover of Prince's "When You Were Mine" is a hidden gem. 5/5

First time listen. I can remember only hearing "Rhonda" and "Dance, Dance, Dance" more than once before. Obviously, great harmonies and fantastic music. Nothing about cars or surfing. Reading the substantial history of this, their 8th album took me way longer than the 28 minute album length. Considered one of the first "concept" albums (not just singles) and a precursor to "Pet Sounds." Entirely written by Brian Wilson. 25 musicians used. Influenced by Phil Spector and Burt Bacharach. Prior to the recording, Brian had a nervous breakdown, married a 16 teen year old, stop touring, started smoking pot and drinking and had just written and recorded 4 albums in 12 months. Woah! Besides the two mentioned above, other top forty singles included "When I Grow Up (To Be a Man)" and " Do you Wanna Dance?"

First listen. Funky, soulful, definitely a 1981 sounding R&B album and quite good. The songs seem to fall into three categories: Funky songs where you hear the Sly and the Family Stone and Funkadelic influences. Pop songs sounding very similar to other R&B pop acts of the day like Kool & the Gang and Ray Parker Jr. And finally his strongest songs which is why this album made the list and have much more slow-paced traditional soulful sound with a jazz-based guitar and horns. His crooning voice dominates. These songs remind me somewhat of the Isley Brothers and the one hit and song that I heard before "If You Think You're Lonely Now" fall into this category.

I remember "Tennessee" being one of the best songs I heard back in 1992 with a great chorus. It still great and this album is actually as I remember with the last time listening to it in the late 90's. It's a sprawling album with lots of songs, random noises, horns and harmonies. A great album no doubt but a long listen. The sampling is more along the lines of the Beastie Boys. A change to the gangsta rap (Dre/Snoop) popular at the time. Classified as Southern hip-hop. Influences heard from Sly and Prince. This album has more a groove and jazzy feel than a standard hip hop album. Other standout songs: "Mr Wendal", "Fishin' for Religion", Everyday People" and " Natural."

First Listen. Holy Crap! I am not worthy! I feel like I've just been hit over the head with a sledgehammer. The most intense, chaotic, fastest, relentless and best live performance I ever heard, live or recorded. This is punk ten years before punk was. Every song is great. It sounds like Jerry is jumping on his piano for the entire concert. His band, The Nashville Teens, are just intense with a wicked pace and some searing guitar solos. The album is 13 songs with his songs "Whole Lotta Shakin", Money", "Great Balls if Fire" mixed with some covers "Long Tall Sally", "Hound Dog." Incredible!

Trance-like, hypnotic, relaxing, laid back. An album that I had heard before but upon recent, multiple listens, it definitely grew on me and I realize its significance. It's like listening to the Chill station on Sirius XM, which actually may not exist without this. Classified as instrumental hip-hop. Stoner hip-hop could also fit. Built over a two-year period almost entirely out of samples from funk classics and bad horror soundtracks.

Yeah, this album still rocks. Bite me. Maybe, it's the roughly ten years since I've not heard these songs incessantly, unlike the previous 30 where you couldn't avoid them. Tremendous lead and rhythm guitar sound and riffs by the Young Brothers. No messing around with what these songs are about with titles like "Givin the Dog a Bone" and "Let Me Put My Love into You." Thanks O'Malley"s Pub in Champaign, Illinois, for etching each word of "You Shook Me All Night Long" into my head, along with " American Pie." I can't argue best AC/DC albums since " Highway to Hell" is the only other one I've heard more than once.

Laid-back, slow, druggy groove, tired-vocal sounding but also very funky. Heavy bass mix, crawling, sketchy guitar. One album where you hear its influence on a lot of later 70's funk. Some legendary musicians- Billy Preston, Bobby Womack, Ike Turner. There was a lot of the recording of this album on The Apple TV 1971 music documentary: heavy drug use - Sly unbelievably would record over previously recorded songs, The Dick Cavett interview. Regardless, some incredible music - "Family Affair", "Runnin' Away."

The first thing upon listening to "Innervisions" is that it starts out very serious with "Too High"(drugs), "Visions"(why are things so bad) and " Living for the City" (inequality) but turns out extremely varied also including two love ballads, songs of hope and a latin-influence song. There is an earlier 70's funk sound to some songs while other tend towards more straught-forward pop. Stevie performed all the instruments on 7 of 9 songs. I can only think of Prince as a comparable. To me what makes this album standout is the use and mix of all the synthesizers, the Moog bass and all other instruments. The use of the Hohner clavinet (wah wah sound) in "Higher Ground" is worth getting this album alone. Outstanding vocal range and background vocals. No dead weight or bad songs on this record. Outstanding.

Immigrés by Youssou N'Dour. I had heard his backing vocals in a number of songs most notably "In Your Eyes" by Peter Gabriel. First time listening to his own music which is classified as mbalax, a mixture of traditional Sengalese and latin-styles and was huge in Africa. This album is four songs. All songs are dominated by his tenor voice and a slew of percussions. Mostly rhythm driven. The one exception is the second song "Pitche Mi" where you really hear the Latin and guitar influence. "Taaw" is the highlight with its rolling bass and heavy percussion. Paul Simon was most definitely listening to this for his album "Graceland." Overall, I'm surprised at how much I enjoyed this album and music.

The two things I remember when this album came out were that The Strokes were "The Next Big Band", the next Velvet Underground, all the critic's darlings, and the Controversy: they had to change the album cover for the North Amercan release (original shown below) and they had to remove the song "New York City Cops" due its content towards the police, and its release a month after 9/11/2001. Too bad that song rocks. This album took a beating during the Sync Listen. Some of it deserved; this album is purposely under produced (it didn't need to be). Are they garage just to be garage? Simplistic songs...the bands going through the motions. Leader singer Julian Casablancas sounds bored most of the time. But I would argue to the greatness of this album. Their singer has a unique, almost-Emo, style of going soft(sounding bored)- loud (screaming)-soft. The songs are simplistic; only three or four songs have guitar solos, that I heard, but the guitar sound is great. Otherwise, both guitarist are playing rhythm...if you see them live their interplay is incredible and a major strength of the band. Yet simplistic, there are no bad songs on this album and each song is unique. Most songs are about relationships. There were three songs released as singles, all still pretty much staples on rock radio: "Last Night", "Hard to Explain" and "Someday." My two favorite songs are "Alone, Together" with a great guitar solo and, especially, "Take it or Leave It" where the band picks up the pace and Casablancas sings with an urgency throughout which he doesn't do on any other song.

This album has my my two favorite Marley songs, "Waiting in Vain" and "Three Little Birds." It really is an album divided into two parts. Side 1 or the first five songs ending in " Exodus" is more serious focused on political issues. Bob Marley left Jamicia to London after a failed assassination attempt where he recorded this. Side 2 totally changes direction, almost a different album and the focus is "having fun" and hope. Besides the above mentioned songs, it also includes "Jamming" and "One Love", all hits. Apparently, this sound was not quite the reggae style of time in Jamica, incorporating more blues, soul and rock. I can't comment on that since this was my introduction to reggae and I have not dug that deep into the reggae style and history. An excellent album.

How timely for this album to come up today? Yesterday, I was listening to two radio stations both of which had segments of peace songs. And on both stations, the first song they played was "Imagine." There are two other anti-war/political songs, "I Don't Want Be A Soldier Mama" and "Gimme Some Truth," but really this album is a collection of songs, mostly great ones. One connective thread is that most of these songs sound very personal, although more loosely personal than his first album, "Plastic Ono Band" (where Yoko and his primal scream therapy strongly influenced). The songs were written from 1968 to 1971 with three written during the "Let It Be" Sessions. The album seems to go back and forth between piano (softer) and guitar-driven ( more rockin) songs. Four are love songs highlighted by the incredible "Jealous Guy." There is an anti-Paul song with whom John was feuding with at the time. John also delivers a stunning vocal performance, along with George Harrison's slide guitar, on " Gimme Some Truth," probably the highlight of the album for me (title song excluded).

I know I bought this CD when it came out and that was probably the last time I listened to it. This album starts strong with some heavy subjects (racism, domestic abuse, social injustice) and songs "Talkin Bout a Revolution," "Fast Car," "Across the Lines," and "Behind the Wall." Tracy has a very strong, powerful and dominant voice. This was classified as Contemporary Folk at the time. OK. There is some variety with the use of percussion, steel guitar, an A Cappella song and a song with a reggae beat. Some of the production has a very 80's feel to it. The songs often tell a story; it's unclear if it's Tracy's or from another point of view (probably both). Although some heavy-subject themed, most songs do have optimistic endings. I have to be honest; I always thought this album dragged in the second half. And after the first listen, it kind of still did but then I started to like it more. Most of the second half songs are slower and more about love/relationships. So, at least this listen today gave me a better appreciation of the album as a whole.

I needed this today. Where has this been all my life? Norwegian Death Punk. I kind of guessed what I was getting into with song titles like "Rendezvous with Anus," "Good Head,", "Don't Say Motherfucker, Motherfucker," and "Rock Against Ass." But I had no idea of the quality and intensity. Definitely falls in the punk category but there are hard rock aspects and rarely do you hear a lead guitar in punk as good as this. You hear all sorts of influences: Stooges, Ramones, Black Flag, Butthole Surfers, Monster Magnet (contemporaries at the time) and even Van Halen. But, their sound is unique. No bad songs or fillers on this; some may disagree. A song highlight was "Prince of the Rodeo" which sounds like Van Halen on Crack. Well, OK, more Crack. Fantastic.

Album #17 (1001 Challenge): "De-Loused in the Comatorium" by The Mars Volta (2003) I've been dreading the day when this album came up. I guess get it over with early. Some people obviously love this album. Hence, it being on the list. I really, really tried with multiple listenings, even before today, to find something. The only thing I find this album to be is annoying. A less-focused, more sci-fi version of Muse. Metal Prog...that even sounds bad. Most of these songs sound like they were written for the sole purpose of being boss battles for Guitar Hero or Rock Band, which may not be a bad thing. But, not here. The drums or drum loop sounds like a machine gun or video game. No noticeable melody. The singing and overall tone is so overly dramatic. I didn't bother trying to figure out what's he singing about. Song titles like "Drunkship of Lanterns" don't really motivate me to find out more. Ughhh!

This is a bizarre album and a lot of fun. Definitely less series than the popular gangsta rap at the time. Everyone on the album sounds like they're having fun. It is more similar to De La Soul with a more jazzy and funky backdrop. Great production and sampling. Notable samples from Richard Pryor, James Brown and Jimi Hendrix. Four emcees/rappers who rap separately or as a group. Some of these songs definitely go for comedy, singing about how fat your Momma is. One area it does suffer from, which appears to be a common theme in the CD Era, is its length at 56 minutes. Though, it does not drag.

I kind of got what I expected to get. Easy listening. Norah's soft, smooth voice dominates all the songs which pretty much have piano and/or guitar in the background. Very similar sounding songs but, there are some notable ones, her hits ("Don't Know Why" and "Feelin' The Same Way") and "Nightingale" which has good guitar and piano interplay. The music is harmless enough, best suited (for me) for reading a book to or background music while you're eating... I'd also say taking a nap too but that's probably going too far. Some classified this as jazz??? Not sure having piano and acoustic guitar alone automatically puts it in that category. Her voice accompanied by actual jazz would actually sound pretty good though.

I guess I was surprised by how many songs I actually knew from this album without knowingly listening to it before ("Hello", "Send My Love (To Your New Lover)", "When We Were Young"). That's what being the second best selling album of the 2010 decade does: makes you a major staple of the pop culture. It's hard not appreciate the talent: a searing, powerful, soulful voice. Most songs are extremely dramatic and about relationships and regrets. They tend to be the former state of a relationship not necessarily a story. Working with superstar producers and writers, the production and songs sound great. On the critique side if that ene matters, most of the songs and structures are formuliac and the album tends to drag in the second half. The exception is the last song, "Sweetest Devotion", which might have been my favorite song on the album..traditional rock band structure, great backing vocals and especially her voice. l do like her next album "30" better which I'm sure is also in my future.

I am a big fan of Belle and Sebastian's next two albums "If You're Feeling Sinister" and "The Boy with the Arab Strap" but have never really dug into this, their debut album very much. What a miss...this album is outstanding. Most songs start slow and build momentum with additional instruments and vocals. Typically, a piano or acoustic guitar starts the song which finishes with violins, keywords, cellos, trumpets, Mariachi horns and probably more. A unique sound for the time and still is. Lead singer and song writer Stuart Murdoch also tends to tell a story with his subjects all over the place: great use of the instruments to try to match the story. What's great about this album and a surprise to me is the musical variety it starts out and continues with. "The State I Am In" starts acoustically and builds with backing vocals and additional instruments. I did not know this but a Pitchfork top 20 song for the decade. "Expectations" throws in Mariachi horns. "You're Just a Baby" and "My Wandering Days Are Over" sound like they're straight out of the 60's. "Electronic Renaissance" employs some weird keyboards; is this a Beach House song? Wilco was definitely listening to "I Could Be Dreaming" as it sounds like it should be on their "Summerteeth" album which came out three years later. This was fun.

It's been awhile and for some reason I thought this album was going to drag in certain spots. Oh, it has its bloated moments but overall, this is a cohesive album with two of their iconic songs, "Roundabout" and "Long Distance Runaround." And it didn't drag for me. The album is really two sides with two songs anchoring each side, starting and finishing songs. There's interludes/instrumentals in between leading to the bloatedness but, hey, this album is one of the cornerstones in the Prog Rock catalog and that's part of it. I don't know if there is an overarching theme, other than nature and driving around..eagles, sailors, the wind. Technically, the musicianship is top notch; this album may be worth getting just listening to Chris Squire's bass on "Roundabout." Three out of the four big songs (the exception being "Long Distance Runaround") have similar structures with the songs starting and ending at the same spot with all the Prog Rock instrumental craziness in between. Think of the acoustic guitar start/finish in "Roundabout." Overall, I enjoyed this listen but understand all the criticism this type of music gets and its detractors.

I thought there could not be anything more annoying than the Hair Metal music of the late eighties and than a decade later, comes this Nu Metal combining metal with rap, funk and just about anything. For me this music defined the whole ridiculosity of the MTV/Spring Break scene at the time. But, just like the Hair Metal Era, there is some decent (very minimal) music to come out, and, I guess for me, this album falls into the something decent coming out of the Nu Metal Era category. For as much as I wanted to hate this album, when the band and their lead singer, Jonathan Davis, kick in full throttle, it does rock. The music overall pretty much sticks to a heavy metal riff throwing in sampling every now and then. I do like the eerie and scratchy guitar sounds. An all-star list of guests (Ice Cube, Fred Durst, Tre Hardson (The Pharcyde)). The song subject matters are all over the place: peer pressure, record companies, rebellion, suicide. The record is long at 70 minutes. If you were to get one album in the Nu Metal genre, this might be it.

Album #24 (1001 challenge): "Debut" by Björk (1993) The first thing you notice about Björk is her dynamic and unique vocals. One of the best soft-to-low vocals and screams in music. The Sugarcubes were more of a traditional rock band based to some extent. This is pop and dance but in a very unique and futuristic way. Her music is hard to describe exactly: unique keyboard sounds, mostly a dance beat which can come and go and her voice as mostly the focal point; but she can let the music stand out. Some some songs feature horns, harps and other instruments which can make them sound more retro than futuristic. This album also features two of her more popular songs, "Human Behaviour"and "Big Time Sensuality." Knowing where she would go from here with even more futuristic, strange and dynamic albums/songs, this is probably a good album to start her music with. It definitely defines her style which would produce some of the best music of the 90's and beyond.

This album and " Little Red Corvette" were my first introduction to Prince back in 1982. I remember there being a lot of critical praise and publicity which was very well deserved. What a way to start an album: "1999", " Little Red Corvette" and "Delirious." This was his first album with the Revolution. I don't think anyone else is as successful at putting so much "stuff" into each song and making them great. I wouldn't exactly say busy but there is always a lot going on. It's impossible to pinpoint an exact formula to his music but they tend start to with a drum beat/rhythm and then get filled in with vocals, melodies, guitar and everything else. The dominant themes are parties, sex and romance. But, some of the hidden treasure songs are the different ones: "Something in the Water (Does Not Compute)" is almost an industrial song and "Free" is a serious song about independence. "D.M.S.R" and " Lady Cab Driver" are two great funky songs. This album shows many different styles, soul, funk, industrial, pop, dance, and you can definitely hear its influence on the future. It also does not sound dated at all. In fact, if it was released today, it would sound fresh. A lot going on and to listen to. It would probably take a week getting into this album to do it justice.

I got this album when it came it out, remembering liking it but honestly haven't come back to it much. I have usually gone to the other earlier Smiths' albums. Listening to it now, I'm not sure why; this album has a lot of variety, a lot of familiar songs and is solid throughout. It also may be their best produced album. It sounds great. Five of these ten songs were played pretty heavily on the radio, at least on Indie stations, and to some extent you still hear them. The first song, "A Rush and a Push and the Land is Ours", has no guitar, only piano...the direction Johnny Marr wanted to take the band. The second song "I Started Something that I Couldn't Finish" is brilliant guitar and one of their best sounding pop songs. Of course, this album is loaded with morbid titled songs, one of the things I admire about The Smith's: "Unhappy Birthday", "Death of a Disco Dancer", "Death at One's Elbow" and of course, "Girlfriend in a Coma". He could have murder her and now he's hoping her through a coma. Along with Bob Dylan's "Rainy Day Women #12 and #45", one of the best songs where happy music is placed alongside bitter or depressing lyrics. The Smith's and Morrissey have a few of those. Really, no dead weight on the album. Clocking in at 36 minutes, it's a perfect length. This album is both Morrissey's and Johnny Marr's favorite Smiths' album; I finally see why.

Reading the details on the background of this album was just as interesting as the album itself and it's a pretty good album. Kanye who had been recognized as a great producer couldn't get himself a record deal at the time since he wasn't "gangsta" enough. This debut album was recorded over a four year period where midway through he was in a very bad car accident leaving his jaw wired shut which motivated him to finish the album and produced some the best songs on the album. Another major theme and, hence the album title, was his decision not to go to college which disappointed his Mother and led to another string of songs. The combination of not getting a record deal, dropping out of school and the car accident fuel the content of these songs which cover family, racism, higher education, religion and Kanye himself. The star of the album is the top notch production. The flow of the album is smooth but sprawling at 116 minutes long and I'm not sure if there is any reason for the song order. There are a number of guests including JAY-Z, Ludacris, Talib Kweli & Common, Mos Def & Freeway with the best of those songs being "All Falls Down" with Syleena Johnson and a soul acoustic-based song. Other song highlights include "Slow Jamz", featuring Jamie Foxx and Twista and more straight-forward soul-pop with some rapid rapping (Hey an Al Green mention) and "Through the Wire" which describes his experience and comeback after his car accident where his jaw was wired shut. There are a lot of good songs here and this quite an achievement leading to an extraordinary future, whether you like him or not. It does take a lot to get through though, which, I think, could have been edited to the same effect.

I have to be honest; I've never gone back prior to " Graceland" and listened specifically to any Paul Simon. His music was played enough on the radio for me. This album contains two of his most popular and best songs, "Mother and Child Reunion" and "Me and Julio Down By the School Yard" Those are almost unique songs on this album as most of the songs are more laid back and subtle: acoustic guitars, a few instruments and sparse arrangements. The songs tell stories some personal, others probably from another of view whose topics cover struggling relationships, infidelity, politics somewhat, drugs and broken dreams. "Peace Like a River " kind of reminds me of R.E.M.'s "Automatic for the People" sound. Other than the two hits, no other songs really stood apart; not to say, they are bad or this a bad album. The lyrics are great. This a personal album and easy to listen to in a singer-songwriter sort of way. You definitely don't see " Graceland" coming from this album, more, a separation from his Simon & Garfunkel days and music.

How can I critique a 1965 BB King live concert other than I wish I was there. Recorded at the Regal Theatre in Chicago in late 1964. His backing band sounds very solid with piano, tenor saxes trumpets and a great rhythm section. My favorite songs here ("Sweet Little Angel", "Worry, Worry", "You Done Lost Your Good Thing Now") start with his booming voice and incredible guitar and let the band build momentum to the song end. But every song sounds great. Really not a negative comment; it's BB King in his prime. The recording tries to capture the crowd's excitement and is successful to some extent. Other artists, Carlos Santana, Eric Clapton. John Mayer and Mark Knopfler apparently have used this album as primers before performances. An album that I will gladly add to my collection when I come across it.

And the randomizer has given me another Björk album; it could be much worse. This is Björk's fourth album and much more subdued than her previous three which had big beats and more pop-oriented songs. This music is still in the electronic or techno music genre with a more quiet rhthym or beat backbone, "microbeats", filled in with strings, keyboards and her voice. Maybe not a good comparison but reminded me hearing Radiohead's "Kid A" for the first time in that it's different and more abstract than what came before. There is not really an obvious "hit" single but I did enjoy most of the songs which flow together very nicely. The focus of most these songs is pretty obvious: romance and sex. The two songs that were highlights for me were "Cocoon" which reminded me of the Radiohead album with its subtle beats and "It's Not Up to You" and its dramatic strings and arrangements. This album is one that I liked more and more after each listen and is definitely one you want to listen to from start to finish.

It is overcast outside. If it was sunny, it would immediately become overcast when I put this record on. I have never listened to this album with the sun remotely showing. And that's just how it is. A posthumous release two months after the death of Ian Curtis. A picture of a tomb on the cover. All this leading to what is a brilliant album. The start of Goth. OK. The best ever Post-Punk album. OK. What stands out for me is that this a great album as a whole as is each song in its own. You could argue whether each song is great the way it is , was it over-produced by Martin Hannett with weird noises and synthesizers, what if the guitar sounded like that, etc. The album as a whole has an eerie and haunting mood. It is danceable without being dance music. I always wondered how the heck New Order formed from this. There are nine songs with five being earlier-written guitar-based and the remaining four synthesizer-based. However, intertwined in the album, you can't really tell them apart. "Isolation" and "Colony" highlight the style of the album the best for me with the driving bass, danceable drum beats, Ian Curtis' unique voice with one song synthesizer-based and the other guitar. My two favorite songs are "A Means to an End" and "Twenty-Four Hours" and I believe the reason is that they are the closest songs to traditional guitar-based rock songs. I could go on about each song. This is an album that I do get a little bit more and different everytime I listen to it. A revered album worthy of all the praise.

One of originator's of West Coast Rap, Cypress Hill's debut. In the gangsta rap category but when I think of Cypress Hill I think of only one thing; and, yeah, most songs are about that. "Light Another", " Stoned is the Way of the Walk", "Something for the Blunted". Most songs have a great groove with interesting sampling and mixing. This style is unique in that it can be described as "laid back" hip-hop/rap (to me). Jeez, I wonder why. There's no doubt this an influential album and group. Rage Against the Machine covered "How I Could Just Kill a Man" in a much more aggressive way. "Ultraviolet Dreams" has a great "Fight the Power" groove and riff. Besides a great name, "Psycobetabuckdown" delivers some 70's funk. When you think of Stoner Rap, this group is at the top of the list. This album as a whole is a laid-back enjoyable listen and a much less "in-your-face" version of " gansta" rap when put it in that category.

It's hard to come up with a better example of Chicago Blues or of a band just jamming and having fun. This album was produced by Johnny Winter who also gets credited for miscellaneous screams as an instrument. The energy is high with most songs sounding like they were recorded live. A lot of high points throughout but James Cotton's harmonica, OMG. I admit to not being a harmonica historian but this is the best and most devastating use of that instrument that I've heard. I'd say he pretty much steals the show but there are so many great moments. This is Muddy's first album for Blue Sky Records after dropping Chess Records. "Mannish Boy" starts the show and is one of the most famous and best blues song that I know of with memorable uses in "Risky Business" and The Band's " The Last Waltz". Winter's screams and Cotton's harmonica make this 1955 re-recording a highlight of any album and an absolute stunner of a song. There are two other Muddy re-recordings "I Want to be Loved" and " I Can't Be Satisfied." Not to be outdone, the guitars absolutely sing on "Bus Driver", an absolute jam with Cotton's harmonica. The bus driver stole his woman; as if that alone is not a great subject for a blues song. The only song which I've heard elsewhere more than once is "The Blues Had a Baby and They Named it Rock and Roll, Part 2" which features great guitars from Muddy, Bob Margolin and probably Johnny Winters. Every song is great here, pretty much a highlight. If I didn't know blues and had to pick one album to get, this album might be it.

I admit to not being the biggest Black Keys' fan. Not that I dislike them; they're OK. This album was their commercial breakthrough and had two big hits "Tighten Up" and "Howlin' for You." Still rock radio staples. I find The Black Keys are at their best when their songs have that sort of raw 70's blues/garage guitar feel to them and there are a few here: "She's Long Gone", " Black Mud". I also appreciate their minimalistic approach with a two-man band and some songs do rock here: "Sinister Kid" "Next Girl". This album is fine although it did nothing to move my neutral feelings for them as a band. I'm kind of surprised it made the 1001 list but they are arena rockers so they are popular. And this album brought them there.

This is a sprawling album that covers a lot of ground sometimes within the same song. It is put into the hip-hop rap genre but at times feels more like an avant garde jazz album. You also hear soul, funk and gospel influences. Some songs songs have a Parliament-Funkadelic, 90's Oukast, Chic and the Isley Brothers feel to them. If you listened to this album for a week, you would probably come up with more. One of the reasons has to be all the producers and musicians he worked with recording in multiple locations. Contributors include Flying Lotus, Kamasi Washington, Terrace Martin. Thundercat, Snoop Dogg, Dre, George Clinton, Bilal, Anna Wise, James Fauntleroy, Ronald Isley, Rapsody and more. Kendrick toured South Africa including Nelson Mandela's prison cell which apparently had a huge influence on the songs and album. As previously mention this album covers a lot of ground with song contents addressing racial inequality, discrimation even within the black community, culture, anxiety and depession. Song highlights for me included "Wesley's Theory" with Thundercat and George Clinton, "Complexion (A Zulu Love)" sounding like 90's Outkast, "The Blacker The Berry" a more aggressive song about race inequality and "i" which samples The Isley Brother's "That Lady" and is probably the song with the best dance beat. The last song "Mortal Man" spends a good two minutes on the meaning of To Pimp a Butterfly which I found quite interesting. This album is big at 78 minutes but quite an achievement.

Now this is the definition of funk. If you're not movin' and groovin' to this album, your pulse should be checked. Apparently based on Geoge Clinton's vision of the future where black astronauts interact with alien worlds. The names of some of these songs alone make this album great: "Supergroovalisticprosifunstication", " Night of the Thumpasorous Peoples." The Library of Congress added this album to the National Recording Registry for its enormous influence on jazz, rock and dance music. Just in the short time that I've been doing this 1001 challenge, I've heard the influence of Parliament and particularly this album in every hip-hop/rap album that I've listened to. Not only there, a few of these songs reminded me of the late 70's/early 80's Talking Heads. Not to mention the soon-to-be disco era. I'm sure I'll hear it in other areas as I go along. For me, it's Bootsy Collin's bass which really lays the groovy and funky foundation for Parliament songs. But, there is a lot more going here on with horns, keyboards, synthesizers, multiple singers and psychedelic, jazzy-sounding guitars. Of particular note, are the synthesizers/keyboards which add weird sounds, noises and a backdrop which definitely solidifies the whole outer space album concept. Not a bad song here. 7 altogether. To me, some of them stray into jam band territory with their extended jams. The album also has their most recognizable song "Give Up The Funk (Tear The Roof Off The Sucker)." This was a lot of fun.

Raw, garage, needs to be played loud, one of the "seminal albums" for punk. Lots of accolades for this album. There's not a lot I can add; it is all of the above. The producer, Don Gallucci, changed the recording to more of a live concert than a studio environment. Iggy's screaming/howling, garage guitar sound and driving rhthym section. The second-half songs add a saxophone which might annoy some people. I think it just adds to the chaos. It's funny; as albums end on my streaming service, the next song played is a similar sounding song. For this album, it went to Jimi Hendrix's "Manic Depression" and the album's second half guitar definitely has that feel. I wouldn't have placed that. Anyway, turn the volume up on this one and enjoy.

Spiritualized's music is described as Space Rock, Neo-Pyschedelia and Gospel. This album is sure hard to categorize other than it is a fusion of a lot of styles. I can see people calling this a mess but there is something grand and majestic here which works pretty well for me. I saw these guys about four years ago; while maybe lacking stage presence, they had four guitarists and sound that was coming from everywhere. It was a great show and kind of best fits this album: wall of sound. I'd say there's a pattern to these songs but not really all of them. A fair number of them start soft with music more in the popular-at-the-time Britpop style (sounding like Oasis), builds the music and drama and ends in a more psychedelic/experimental area. The album-titled song starts everything in a very soft and dreamy way then transitions to song #2 "Come Together" the most tradional rock song on the album. From there, things get more interesting with more of the soft to loud song dynamic and structure with the loud being different musical styles, more drama, song complexity, instruments, etc. "All of My Thoughts" ends in a blues harmonica and experimental guitar jam. "Electricity" grooves with an organ. "Home of the Brave" and "The Individual" both build on the experimental guitars, sounding and ending like Sonic Youth. The loud of "Broken Heart" is an orchestra while that of "Cool Waves" is more gospel oriented. A big album at nearly 70 minutes ( CD era) but is definitely worth a listen. A great musical attempt of what floating in space would feel like, I think.

Growing up in the 70's and 80's, this album was always put as a top ten album of all time. For some reason in recent years, you don't see it quite as high; I'm not sure why? It still sounds great and original. I don't feel this has aged any. His second album and a big change from his first more-pop oriented ("Brown-Eyed Girl" one). A fusion of Van's "Blue-Eyed Soul" and jazz musicians. Van would roughly play each song on an acoustic guitar to the musicians and they would construct the songs from that. Van stayed in a separate room from the musicians and would improvise the lyrics from the music played. Additional instruments were added after. Yeah, lots of history on the recording. Although not an overarching connection between songs, each song is almost its own separate story, the flow of the album has a distinct feel to it. Each song seems to be about romantic fantasies and/or past romantic occurrences. His lyrics tend to use imagery of nature and surroundings and improvised thoughts to progress the story: a definite poetic approach. Additional strings appear to have been added to accentuate certain parts of the songs and adds to the jazzy feel. Song highlights include "Sweet Thing", its majestic feel, "Cypress Avenue", fantasies about a girl from school, and "Madame George", don't know what it's exactly about but Van's most paasionate and emotional singing. This albums stills sounds like a masterpiece to me.

Ah, the transition album from thrash-metal darlings to "sell-outs." Of course, they became one of the biggest one or two rock bands in the world. While I'll agree, I like the previous four albums are better ("Kill Em' All" thru "And Justice..."), there are a lot of decent songs here. I'll always admit to thinking the beginning musical build-up of "Enter Sandman" is brilliant. The band went with a different producer, Bob Rock, whom they liked from Motley Crue's "Dr. Feelgood", with the result being a slower, heavier, more refined sound than their trash metal efforts. James Hetfield's vocals are at the forefront, understandable and actually sung: a big thing among Metallica fans missing his screaming. I kind of liked his screaming too. Most of the songs are still about typical heavy metal and their own song themes of war, destruction, doom and misery. But, "Nothing Else Matters" is about Hetfield missing his girlfriend on the road; "The God That Failed" about Hetfield's Mom as she refused cancer treatment due to religious beliefs. The album is front-loaded with their five singles, "Enter Sandman", "The Unforgiven", "Nothing Else Matters", "Wherever I May Roam" and "Sad But True." My favorite part of the album is songs #5 through #7 ( "Wherever I May Roam", "Don't Tread on Me" and "Through the Never") ; I think cause they are the hardest rocking to me. The last part of the album I've always struggled to get through without losing interest, probably due the length of the album (72 minutes) and by this time, the reptetiveness. I see the inclusion of this album into the 1001 due to the popularity of all the songs and where it took them.

Debut album from Canadian poet Leonard Cohen. Cohen was a poet and novelist since the mid-1950's. He had learned to play guitar years before but his musical career began with this album in 1967. I personally became more familiar with him only in the last ten years with his last few releases. I do remember his song "Everbody Knows" from the 80's though....my loss. He was much more popular in Europe and Canada. The musical style is folk with Cohen's voice, guitar and other various instruments. Each song is a story in and of itself; told in a third-person perspective from either a women or a man, a first-person perspective or sometimes mixed. The songs are unique portraits of love, relationships or romance. Besides Cohen's voice and acoustic guitar, some songs are backed with vocals, flute, harp, violin and other instruments. Each song is unique and the storytelling and music both simple and complex and worth a listen. Song highlights for me include "Suzanne" - the lure of the perfect woman, "So Long, Marianne" - the strong backing female vocals, multiple instruments, a past relationship and the word play with laugh, cry, laugh and "Teachers" - told in the first person about dreaming about teachers, being hospitalized for hatred and finally, not finishing lessons, played with a flamenco-style guitar. All the Leonard Cohen that I've heard is worth a listen. This, his first album, is a strong and good place to start.

I had minimal expectations for this album. I mean I do like the title song "Connected" but... This album is actually not bad at all and the style of music still sounds pretty good. That style of music being called English hip-hop/house/electronic. I think I would put this more into the electronic or dance category with its dance beats and groove. The hip-hop is some rapping and sampling. The album sounds of its time, earlier 90's, but the production is quite good. The goal is simple: Dance, Party and Have Fun. Goal met. The song structure is basically led by the beat and filled in with vocals(lead and backing), samples, keyboards, synthesizers and horns. Besides "Connected", other songs that stood out were "Ground Level" - more laidback groove and more a soulful feel, "Fade Away" - faster dance beat, "Creation" - love the "Ring My Bell" vibe and rapping and "Step It Up" - their other hit single. This album may not be as cutting-edge techno-wise as some of the other mid-to-later 90's artists would be but appears to be influential (Hi early Gorillaz) and sounded fine today.

My second Stevie Wonder album in this exercise and what is considered his masterpiece. I'd have to agree: what an achievement! This is a big, double album; it is a sprawling in the best sense covering a lot of ground, musically and lyrically. Just look at Side A: "Love's in Need of Love Today" - a very soft, soulful song with Stevie longing for more love in the world, "Have a Talk with God" - complex keyboards and noises and more spiritual by having a talk with God about problems, "Village Ghetto Lord" - more serious song about the crime, poverty, starvation with a majestic symphonic background, "Contusion" - mostly instrumental and a 70's jazzy-guitar and prog-rock feel and finally, "Sir Duke"- a joyous homage to Duke Ellington and one of my all-time favorite songs. And now, we still have three more sides of music. The rest of the album does not slow down in variety, originality and excellence. So many highlights: the grooves of "I Wish" and "Isn't She Lovely", the soul of "As" and the majesty and uplifting of "Another Star." Some may crtique the excess with the album and some song lengths. A number of songs do clock in at the six to eight-minute length. It did not bother me too much. This album is rightfully considered one of the best albums of all time and also included into the National Recording Registry by the Library of Congress for its culturally, historically and aesthetically significance.

I know I have this CD somewhere or somebody has my CD of this somewhere. I am a big fan of this album and his previous one, "Freedom", sort of his comeback from somewhat less-than-critically-acclaimed 80's albums. By the way, I've never dug into his 80's albums to refute or back those reviews. Not a big fan of "This Note's for You" though. His 6th album with Crazy Horse. Recorded over a two week period with sets of songs being played twice a day (sets never repeated) with the best takes put on the album. Critics called this album "garage" and that recording approach is pretty "garage". Well, it sounds raw and like Neil basically said "Let' Er Rip, Boys." And they did. All songs are pretty much straight-forwarded rockers. "Mansion on the Hill" was the only song I remember being played on rock radio. The first two songs, "Country Home" and "White Line" were written back in the 70's. "F*!#in' Up" or " Fuckin' Up" is my favorite rocker on the album with those sloppy Crazy Horse backing vocals and a song covered by a lot of other bands. Don't know why he just didn't spell out fuckin on the album. Maybe, Tipper Gore fear at the time? Neil goes "Cowgirl in the Sand" on two 10-minute epic jams, "Love to Burn" and "Love and Only Love." This album was a welcome relief on this Friday!

The seventh album from Ray Charles. Ray sings standard songs from The Great Amercian Songbook (early 20th American jazz standards, popular songs and show tunes). Apparently, this is his breakout from Rhythm & Blues to a bigger, broader musical stage. The songs on Side 1 are backed by a Big Band and are more of that style. Side 2 songs are backed by a string arrangement with more emphasis on Ray's piano. The singing of Ray is outstanding throughout. I liked the Side 2 songs better with the string arrangement background since the focus was more on Ray's voice and the songs seemed more soulful. Not that the big band style completely buried Ray's voice though. For sure, the highlights of this album are the last three songs, "Don't Let the Sun Catch You Cryin'," "Am I Blue?," and "Come Rain or Come Shine," where he takes his soulful voice to a whole other level. I thought this album might sound too dated for me to completely like but with repeated listens, I really enjoyed it and appreciated the music and the genius of Ray.

My Queens of the Stone Age experience began with their second, "Rated R," and third, "Songs for for the Dead," albums. This is their debut. Written and performed by Alfredo Hernandez (drums) and Josh Homme (everything else) in the wake of their band Kyuss. Put in the Stoner Rock category. I definitely hear that but would just call it hard rock. Trance-like rhythm guitars and a grunge-like rhythm section drive these songs. This is basically a more raw and less guitar complex version of their next two albums which is fine with me since their next two albums are great. To say their lyrics are cryptic would be a generous use of cryptic. I would say most songs are about sex and some aspects of relationships but....again, this is classified as Stoner Rock. "Regular John" starts the album and is maybe the most "Queens of the Stone Age" song I've heard with its driving guitars: a definite rocker. Other song highlights, "Walkin on the Sidewalks" - three guitars, more heavy and grungy, "Hispanic Impressions" - impressive instrumental and "You Can't Quit Me Baby" - nice Stoner vibe, tempo changes. The style of Queens of the Stone Age (QOTSA) has also been described as krautrock. I had to dig to hear that comparison; at first, I couldn't hear it and eventually listened to a Can album (not entirely bad). The kraut-rock aspects of QOTSA are the constant, trance-like groove and the addition of layered guitars as the song progresses. There are areas where QOTSA and Can don't match up but I don't think that has anything with krautrock. Anyway, a very good album laying the foundation for some great Queens of the Stone Age albums and songs in the future.

I can't say I've followed Paul Weller's career in detail. I do like mostly everything I've heard from The Jam. Coming in sort of neutral. Not neutral anymore; this album is fantastic. At first listen, you get a laid back 70's California Rock feel adding Paul Weller's soulful voice (not a bad thing). But upon further listening, you hear much, much more and appreciate the complexity and maturity of this album as whole. "Has My Fire Really Gone Out" has a blues riff with a harmonica and a killer guitar solo. "Country" is softly acoustic sounding like something off Led Zeppelin III. I had to make sure it wasn't Blind Faith I had on listening to "Foot of the Mountain." Looking at Paul Weller's impressive discography, I'll need to check out more.

Right. If you knew nothing about the history, you would find that this album still rocks pretty hard. The music has swagger, great guitar solos and that lead singer sort of sings, screams and sneers. No topic for a song seems off the table. Ah, but history it does have. Controversy. Censorship. Johny Rotten. Side Vicious. Starting the Punk Movement. Malcom McLaurin. Plenty of history. There has been a lot of more extreme punk and music in general since that this sounds just like rock and roll. I think it's also been absorbed into rock history so. The one thing that has stayed punk are the song lyrics; they're still pretty edgy and anti-everything: anarchy, abortion, women, the Queen, the UK. Most of the songs are great. I can't really add anything more other than this still well worthy of a listen.

I guess I'm pretty neutral in my opinion of this group. I mean I appreciate their great harmonies but can't say I went out and bought any of their albums. This debut has some rock radio heavy hitters in "Suite: Judy Blue Eyes", "Marrakesh Express" and "Wooden Ships." It appears they took a democratic approach in the songs switching lead singers after every song. Thinking back and actually forward, their approach probably was very unique for folk with their blend of acoustic and electric guitar songs and their complex harmonies. This is a great sounding and produced album. Outside their hits, I appreciated "Guinnevere" - subtle and acoustic love song, "Lady of the Island" - another very soft song about Nash's relationship with Joni Mitchell and "Helplessly Hoping" - maybe my favorite harmonizing on the album, which surprsingly are led sung by each of the three. Not really any stinkers or fillers here to me. Although you hear enough of this album on the radio, this is definitely an album worth going back to listen to as a whole.

Swedish garage band but this is pretty much straight forward punk with its fast pace and attitude. It's kind of curious why this album was picked since it is a compilation of their albums "Barely Legal" and "Veni Vidi Vicious" and EP "A.K.A. I-D-I-O-T". And why the band did a complilation without any hits? But, this album did reach #7 on the UK charts and was their breakthrough. Good idea. It's hard not to like a band with their singer named Howlin' Pelle Almqvist. The album starts with their most popular song "Hate to Say I Told You" which had a fair bit of play here in States and is the longest song at 3:19. This compilation is ordered in reverse chronological order and you definitely see the improvements as the band aged a bit with songs getting a little more raw and less refined as the album progresses. The names of these songs are classic punk, "Die, All Right!", "Automatic Schmuck" and "Hail Hail Spit N' Drool." I don't know if this album or band breaks any new ground but I bet they were and/or are great live. And, with 12 songs clocking in at 28 minutes with this fast pace, it was welcome relative to other, much longer recent albums I've listened to. Following the Ramones format can never be a bad thing. Can it?

Sly & The Family Stone's fourth album and their first to reach the Billboard Top 200. A much more focused album than their subsequent "There's a Riot Goin' On", taking nothing away from the brilliance of that album. This is a band effort with multiple leading and backing vocals laying down a great funky groove. The overarching feeling is one of optimism and hopefulness addressing issues such as racial and social injustice. And, one of those albums the Library of Congress included in the National Recording Registry for its aesthetical significance. The album includes their great song and #1 hit "Every Day People" which apparently popularized "Different Strokes for Different Folks." Good to know. A lot of highlights: The blues vibe and endless great groove of "I Want to Take You Higher", the optimism and great backing vocals of "Stand!" and the funky psychedelia, distorted keyboards and wah-wah guitar of the 13-minute long "Sex Machine." This album has to be one of the high points (if not the high point) of Sly & The Family Stone. My favorite for sure.

It is quite appropriate that on 4/20, I got the album with "Eight Miles High" on it. This is The Byrds' 3rd album with the majority of songs without founding member Gene Clark who left during the recording. This album does jump around quite a bit stylistically. They were influenced at the time by Ravi Shakar so a few songs have an Indian influence in the music and guitar (Raga). You hear more of a country influence in a few other songs. And, they do cover four songs. Maybe, the absence of Gene Clark had something to do with this??? Anyway, this album does have "Eight Miles High" which is an absolute monster of a song. Supposedly named after how high you fly in an airplane. Right. Great unique guitars blending together with one playing the Raga (Indian) style and the other one trying to imitate the playing of John Coltrane. Woah! But the sound is fantastic. Considered the first psychedelic song. A few other highlights include "5D" - great Byrd harmonies and "I See You" - the Raga guitar more clearer here. Overall, an fairly enjoyable if uneven listen but there is "Eight Miles High."

I don't know if additional listenings to this album added anything musically to what I already thought and heard with previous listenings. A great album and one of their best in my mind. I did, however, learn a lot about its history and the state of The Beatles at the time. 19 of the 30 songs were written and initially acoustically recorded in India during their Transcendental Meditation. Although lots of different musical styles/genres between songs, there were no style changes within a song (a change). There were lots of signals that this might be the beginning of the end for The Beatles as a group; George Martin left during the recordings. Ringo also left for two weeks. Yoko presence during the recording seemed to annoy everyone. And, in only 16 of the 30 songs were all four band members performing. Regardless, none of this appears to have affected the quality. The songs on this album cover many styles: Rock, Blues, Country, Reggae and Experimental. I'd have to write a book (and there is a lot written commentary already) on each song. For the album as a whole, I'm not sure it's necessary or imperative to listen to everything at once or even in its album order. I really don't find a connection between songs. Maybe, there is one. Lots of song highlights, some of mine: "Happiness is a Warm Gun" - Lennon's vocals and overall band performance, "While My Guitar Gently Weeps" - maybe my favorite Beatles' song, "Helter Skelter" - McCartney vocals and finding out Helter Skelter is British slang for a playground slide and "Good Night" - maybe Lennon's best singing and a lullaby for Julian. Some may say some of these songs are fillers but hard to argue with their final decision to keep everything the way they did.

Elvis' fourth album overall and his first in two years after his army discharge. The only other Elvis album I have listened and can compare to is one of his Christmas albums that my parents had. But, I don't really remember much of that. That will change in the future with this exercise. One of the critical praises of this album is the musical variety which I wholly agree with. This variety includes ballads, doo-woop (for lack of a better term), rock and blues. Needless to say, he nails all of them. My two favorite songs are the two blues-based songs "Like A Baby" and "Reconsider Baby" which end the album. Another highlight is his cover of Peggy Lee's "Fever". I can't say that I didn't expect to like and enjoy this album. I did. It's Elvis baby.

Some argue this to be Zeppelin's best album given that it has all the great quality and it's double the size. The question of my favorite Zeppelin album is almost impossible to answer since it changes all the time. This one definitely rotates to and from the top. Their sixth album which they added previously recorded songs to eight current songs to make a double album. Recorded over a two year period where there were apparently significant contributions from all the band members, especially Bonham. These songs fall into a variety of musical styles: hard rock, Eastern-influenced, prog rock, funk, acoustic, a love ballad, soft rock and blues. The songs might jump around stylistically but there is a great flow to an overall outstanding whole album. Picking out song highlights here is almost as difficult your favorite Zeppelin album. Some of mine are: "The Rover" - a kick-ass intro and Page's guitar in the chorus, "In My Time of Dyning"- a bluesy number and Bonham's start-stop drumming, "Kashmir", "In The Light" - their prog rock song?, Plant's vocals and Page's guitar again in the chorus and "Ten Years Ago" - a ballad but I love how it changes tempo midway through. So much good on this album. It had been awhile and this was great to hear again.

Album #56 (1001 challenge): "Architecture and Morality" by Orchestral Manoeuvres in the Dark (1981) The first time I heard an OMD song or of OMD was the song "If You Leave" from the soundtrack of "Pretty in Pink." I think that was common for a lot Americans. OMD was big in Europe and Canada but wasn't really known by most in the US until five years after this album was released. That's unfortunate cause this is a very good album. Classified as synth-pop and it is but there's something cutting edge and some these songs have an empty and haunting feeling to them. Apparently influenced by religious choral music. If you are expecting "If You Leave", there's no remnants of anything like that here. "The New Stone Age" sounds like The Cure from "Pornagraphy." Not one but two songs with Joan of Arc in the title, one a more pop song and the other has a more majestic feel to it. I thought I was listening to Kraftwerk on "Architecture and Morality." This was a very interesting listen and a band whose earlier work I might have to dig deeper into.

Steve Earle's debut album and considered one of the first in the alt-country genre. I actually consider Earle's next few albums more alt-country. This one has more of a traditional country feel to it and even towards the dreaded pop-country. Each song tells a story with classic country themes: I'm down and out, a breakup song, not living up to expectations and living on the road. Two songs really stand out to me: "Guitar Town" with its great rhyming lyrics and twangy guitar and "Little Rock "N" Roller", a tear- jerker about calling up his son, Justin Townes Earle (RIP) while on the road just to talk and don't tell Mom. I can't say this is my favorite Steve Earle (that would come in a few albums) but there are some outstanding songs and overall, it is a good liste.

I know I saw this movie when it came out and thought it was good. I don't remember much. Maybe need to rewatch. Interesting inclusion in this list. Besides the first one, all the songs are instrumentals. Hence musical score. In the first part of the album, I thought I was listening to the instrumental songs on Pink Floyd's "Dark Side of the Moon". Kind of trippy and psychedelic. About midway through, especially in the song "Highschool Lover", you start to also hear a Beatles influence. Everything still stays Trippy. This was an interesting listen and is what I would also classify most of the really good electronic or ambient music. It was definitely not boring. The songs changed pace and it did not feel like you were listening to one long song which some ambient albums are purposely. If you're an ambient or electronic music fan, this album is for you.

Marvin's 13th and most successful album. This is smooth, smooth, smooth. A very easy listen. Some classify as smooth soul or slow jam. Sounds good to me. You definitely hear its influence on future late 70's/early 80's R&B and soul. Apparently, this album was a change in typical Motown recordings in that it was free-flowing album-oriented as opposed to their typical album containing-hit singles-next-to-each-other format. Certain artists have that liberty and I would think Marvin Gaye would be one of them at this point. The themes of these songs are very straight-forward: romance, lust and sex. Marvin's music and voice take it to another level. Some song highlights for me: the title track "Let's Get It On", "Keep Gettin' It On" - similar to the title track with a little more funk, "You Sure Love To Ball" - smooth jazz background music and a great female moan and "Just to Keep You Satisfied" - tremendous vocal performance with sweeping orchestral music. Really not a bad song on the album. I recommend listening to this album as a whole; there is a great flow to the music.

This is The War on Drugs' third album and was inspired (if that's the right word) from lead singer and guitarist Adam Granduciel's bout with depression and loneliness after a long tour. The War on Drugs' music (at least the early stuff) has a dreamy, ambient feel to it. Their best songs tend to be ones that start slow and build and there are a number of those songs on this album which is probably my favorite from them. Their music is compared to various artists and music of the 80's. Yeah, I guess; if you dig you can pick out some influences of 80's artists. Though, I get a lot more from the their last album "I Don't Live Here Anymore." Their three big (relatively speaking) and my favorite songs from the album are "Under the Pressure", "Red Eyes," and "An Ocean in Between the Waves." They start slow and build with guitars, keyboards and piano to a jam. Some may say the last three minutes of "Under the Pressure" is basically a filler with ambient music. I'd agree. Alright, I went digging for 80's sounds in some of these songs. This is what I heard. The beat in "Disappearing" does resemble Tears for Fears' "Pale Shelter." Respectable. I heard Bob Seger in "Eyes to the Wind" specifically "Against the Wind". OK. And finally I did not hear Springsteen's "Dancing in the Dark" in "Disappearing" but more of a Rod Srewart's " Young Turks." Ouch! Overall, I've always liked this album. It has a definite chill kind of mood and maybe The War on Drugs' best album in achieving that state.

ELO's 7th studio album and a double one at that. I guess I've always been neutral about ELO. I appreciated some of their pop songs but never bought a full album. But, I do have the killer purple 45" vinyl of "Sweet Talkin Woman," which is on this album. Also, if there was a deathmatch for spaceship album covers, this would definitely knockout Boston's self-titled debut album. And, for some reason, I have a strange desire to play the electronic Simon game looking at the cover???? As far as music? Very much highly produced. I can't think of a good band comparison using the mixing and blending of orchestra and rock that ELO/Jeff Lynne does (The Beatles? Queen? sort of but not to this level). I suppose this can annoy some people and a whole album of this kind of music annoyed me at times. It doesn't mean that I didn't appreciate the achievement. The popular songs "Turn to Stone", "Sweet Talkin' Woman," "Mr. Blue Sky," and "Wild West West" still sound very good. I also found the whole third side, "Concerto for a Rainy Day," which is four songs inspired by a rainstorm interesting if not necssary. But, then again, this whole album is kind of over-the-top and was a huge success so.... This was a good album listen for the hits but can be a struggle at times especially if you are not a fan of the "ELO" type of music. And since I'm ELO-neutral, I kind of fell in the middle.

Wainwright's 4th album and second of the "Want" series. Only two albums in that series. His music is described as Baroque Rock which combines elements of rock music with classical music. I learned something today and it is a very accurate description of the music. This album is kind all over the place; there are pop songs, ballads, a waltz, some songs use more string arrangements and a song with reggae backbeat. There is no doubt this guy has talent; a great voice and the music sounds great and complex (with the arrangements). I personally like his second album "Poses " better. Some album highlights are "The One You Love" - nice pop song with a choir, "The Art Teacher" - very dramatic and recorded live and "Old Whore's Diet" - this 8 minute song kind of summed up the album as it goes over the place with a reggae backbeat at times and vocals from Anohni (Antony and the Johnsons). For some reason, I could not get into this album. I recognize the talent, the album achievement of variety and I'm sure a lot of others like this album quite a bit.

A concept soundtrack album to a non-existent crime film. Alright, I'm in. The song titles are descriptors for a film noir outline. Adamson recorded this for his film noir fascination and as a sort of a resume to film directors to hire him for their soundtracks. Well, it worked and he was hired for film soundtracks including David Lynch's The Blue Highway soundtrack. As strange as this sounds, I thought this album and concept completely worked. All instrumental as you would expect, except for some women screams (obviously needed). The songs are pretty cool, somewhat creepy at times like they should be and most importantly they do a great job portraying the actions I think they are trying to portray. By the way, Moss Side is a neighborhood in Manchester, England. Some song highlights: the first song "On the Wrong Side of Relaxation" - A nice creepy, proper way to start and has a woman panting, "Central Control" - you need a song with a xylophone in a film noir and "Autodestruction" - my favorite song on the album sounding like vintage Nine Inch Nails. No wonder Trent Reznor has had a lot of success with soundtracks. Overall, a fun and different experience with this soundtrack music for a film never made.

The second album from this Irish band and what many to consider to be the pinnacle of the Shoegaze genre (obscure vocals, guitar distortion and effects). This album was recorded over two years using 19 different studios where band leader Kevin Shields was aiming for perfection. The album cost lots of money and the band never released another album after that in this time frame. They did reunite in 2013. The music can best be described as a unique, distorted, churning guitar sound driving the songs with other guitars, sampling and keyboards (I think) used variously for the melody. About half the songs have drums (drum loops). The vocals are split between Shields and Belinda Butcher and act more as instruments. They go great against the music. I've never have or will try to remotely decipher the lyrics or what they're singing about. To me, this is an amazing achievement of sound and guitars in essentially creating a unique atmosphere. I don't if I've heard anything quite like it since. However, to be honest, I would not recommend listening to this album if you're hung over; that guitar might really be irritating. Every song is worth a listen just to hear what Shields is doing with the guitar sound. Some highlighted songs; both "When You Sleep" and "What You Want" are more traditional rock songs with drums, that churning guitar as rhythm and other guitars/keyboards for the melody...my two favorite songs on the album. "Soon" use drumbeats (loops) to incredibly create a dance-type song. Guitars still churning. Many consider this one of the best albums of the 90's and I would agree.

Dark, gloomy, eerie, scary. This album has to be my definition and picture of the whole Goth scene of the 80's. This is The Cure's fourth studio album and apparently found them not in good shape (drug use, depression (suicidal thoughts), fighting, member leaving). I guess you know where you're headed when the first lyric on the album is "it doesn't matter if we all die." This album did not get great reviews when it came out but in retrospect, has been recognized much more favorable and as one of their best. I admit to not listening to this album until the 1990's when The Cure were well established. To me, they went darker and more gloomy than what Joy Division did on "Closer" and eventually fine-tuned this atmosphere along with their in-between pop sounding experience and songs to make 1989's "Disintergration." Every song is dark and creates its intended atmosphere. "The Hanging Graden", the only single off the album, has a tumbling bass and drumbeat and kind of a searing guitar and is a song they have trouble playing live since they can't re-create the sound. "Siamese Twins" is maybe the best song example of the album's mood and is one of the best uses of a song in any TV show for an episode of "The Americans." "A Strange Day" is the most pop-oriented song on the album with great layered-guitars. Don't know why this wasn't the single? I appeciate this album with each additional listen especially considering where the band went in the future. Without that reference, I'm not sure how I would have interpreted this.

Debut album from the Los Angeles trio. Some describe their music as a type of alt-country; I would put them firmly in the rock category. Their best songs tend to have soaring guitars and vocals building towards guitar solos in an almost epic and anthem-like style. And, there is no doubt Grant Lee Phillips has a great rock voice. I'd say they do the soft-loud-soft-loud dynamic but different than Emo or The Smashing Pumpkins. I read a comparison to Neil Young which I see especially with the mid-song guitar solos and the subjects he covers: environment, abortion, racial issues and broken dreams. There a number of very good songs on this album. "Jupiter and Teardrop" is good example of the soaring guitar and vocals towards guitar solos. "Wising You Well" is very dramatic and builds which this band seems well apt to excel at. "America Snoring" is a commentary of the USA circa 1993 and maybe the centerpiece of the album commenting on abortion and race riots in LA. This is the first Grant Lee Buffalo album I've dug into; well, I've been missing out. A definite keeper and makes me want check out their other albums, most of which appear to be worth doing.

Bowie's 26th and final studio album. There has been a lot written on the songs and their meaning pertaining to his impending death. It is pretty clear that a number of them are written addressing exactly that, especially given the timing of the album's release and his death two days later. This album was recorded in NYC with a jazz quartet. As opposed to telling a bunch of studio rock musicians to try and play jazz, this was the opposite, have a jazz quartet play like rock band. Well, I think this is sort of true; they still sound very much like jazz but is one the reasons it has a very unique and great sound. The more you listen to this album, the sadder it kind of becomes but the more you appeciate the orchestrated final act of Bowie. Every song kind of has a majestic feel to it; Bowie's voice with a complex and improvised jazz backing. "Blackstar" has a unique percussion, sounds more like an orchestra and makes allusions to his impending death. Similarly, the lyrics in "Lazarus" stress how one day soon he'll be free and in "Dollar Days" how he'll never get to see the English evergreens hell try to get to. Maybe, my favorite song for the music is "I Can't Give Everything Away" with its improvised jazz. There are so many great last albums for artists to say this is the best but it ranks up there and I don't know if there is one that so specifically conveys it is the swan song.

This must be my week of 1993. Along with Grant Lee Buffalo, I get The Afghan Whigs, both not falling in the grunge category, amazingly. This is The Afghan Whigs' 4th album. Besides the last song, every song is about breaking up or some aspect a toxic relationship. The music and lyrics are high drama. There does not appear to be an overarching story; each song is its own story of relationship misery. Greg Dulli (lead singer) used Van Morrison's "Astral Weeks" as inspiration with each song on its own within an overall motif. I definitely see that. The lyrics are very descriptive and can be pretty vicious. Some of the Afghan Whigs' music has a soulful influence but this album, besides one song, is straight forward drama and rock. It is one of the best albums that I've heard where the lyrics and music are trying to match each other. The album is great listening to as a whole capturing the overall tone but also has great individual tunes. "Debonair" is the one sort of funky song on the album with a great, unique groove, has tremendous and vicious lyrics about being in a poisonous relationship "Cause it don't bleed, And it don't breathe, It's locked its jaws, And now it's swallowing," and is one of my favorite songs of the 90's. "Gentlemen" has a intense dramatic intro and maintains that throughout the song. "What Jail Is Like" builds the drama using the soft-loud-soft dynamic and compares the relationship to being in jail. The Afghan Whigs broke up in 2001 and reformed in 2012 and are still absolutely amazing seeing live. They have 7 studio albums all worth checking out with this probably being their best.

Along with 1993, the 1001 randomizer has recently gifted me with soundtracks. This one I have actually heard before. It is a double album and mostly instrumental and was scored by Isaac Hayes. The album was #1 on the charts, had a #1 song on the charts and won an academy award. It incorporated using R&B and soul into a soundtrack and was highly successful. Due to this, it had a huge influence on both soundtracks and R&B music (Curtis Mayfield, Marvin Gaye). Hayes recorded the rhythym tracks with the Stax Studio band The Bar-Kays in one day, the orchestral tracks the next day and then the vocals on the third day. The songs were later re-recorded at Stax Studios. This album is one of those added to National Recording Registry by The Library of Congress for being culturally, historically or aesthetically significant. The album starts out with iconic "Theme from Shaft". Got to love the intro with guitar and cymbals. For the next set of songs, it sounds like a soundtrack, with Hayes doing a great job combining jazzy guitar and rhythm with horns and strings to sound like a cinematic score. A great song in this set is "Cafe Regio's." The ability of Hayes to do this should come as no surprise if you've ever listen to his "Hot Buttered Soul" from 1969. The second half of this album is where it really takes off and separates itself from other soundtracks; I did think I was listening to "Hot Buttered Soul." It starts with "Soulsville" which is one the few songs with vocals. Next is "No Name Bar" with a great groove mixing in horns and strings and then "Bumpy Blues" with its piano and bluesy feel. And then...the highlight for me " Do Your Thing" which is a total R&B, soul and psychedelic jam. At 19 minutes long it didn't seem long enough. The guitar solo alone is epic, seemingly clocking in at 10 minutes. Who doesn't also love an organ solo? The song ends in like a psychedelic haze.... Amazing. The album ends with an instrumental of the "Shaft" theme. It's been awhile since I've seen the movie but after listening to this, I need to see where all these songs fit in.

I guess I'm not totally indifferent to Beck; I do like some of his songs. And, this album is right there with "Odelay" as my favorite. It is quite the depressing affair though. This album was recorded after the break-up of Beck and his girlfriend of nine years. All of the songs deal with heartbreak, desolation, solitude, loneliness or depression and were actually written over eight years but not accumulated into one album until this. Lots of allusions to deserts and roads. Most of these songs are ballads with background string arrangements, a change from previous albums. The production and acoustic/string arrangements are both very good. The lyrics of this album are very straight-forward; this is a break-up album. Not the high-end drama of the Afghan's Whigs' "Gentlemen," much, much, much more subdued to say the least. My favorite songs happen to be more popular ones too. "Sea Change" has an almost Stones' "Angie" start with acoustic and slide guitars. Allusions to desolation uses deserts and driving. "Guess I'm Doing Fine" and "Lost Cause" are very specifically about breaking up and have a very sad and beautiful feel to them. Definitely not the happiest music to start the week with but may be Beck's high water mark.

Debut album from American rapper Jeru the Damaja (lots of the same letters in my name. It confused me at first). Produced by Gang Starr member DJ Premier. The album is credited with helping revive the East Coast hip-hop scene in the 90's along with Wu Tang, Nas, Big L and the Notorius BIG. Kind of ominous with the World Trade Center burning in the background of his album cover (the WTC had been bombed the year before). However, I did not find or interpret this album to be violent or even gansta at all. He seems to be challenging all rappers to his rhyming in a lot the these songs. And, his rhyming is great. I don't have a ton of experience in hip-hop lyrics but this guy sure seems prolific with his sheer number of lyrics per song. His non-stop lyrics are laid perfectly against hypnotic beats and weird and sometimes eerie sampling and sounds. As previously mentioned, Jeru seems to be challenging all comers to a rap-off against him and, in general, East Coast rap as in songs "Brooklyn Took it" and My Mind Spray." He goes anti-gansta in "Ain't that Devil Happy." Although he made some people (evidently The Fugees) angry thinking this to be misogynistic, one my favorite songs on the album is "Da Bichez" where he goes after a specific type of woman; those only after the money. Overall, a very well produced and recorded album. Along with the previously mentioned acts, probably a good place to start and/or experience early- to mid-90's East Coast hip-hop. I'm sure I'll be coming back to this album and scene in the near future.

Sinatra's 10th album. Arranged by Nelson Riddle. This album has 15 songs that were pop standards reinterpreted by Sinatra (and Nelson) in a more jazzy way. I have to say I was in a pretty grumpy mood and then I listened to this. Now, not as grumpy. This is the first Sinatra album I listened to, especially at any depth. One impressive thing about these songs is his timing and interactions with the orchestra. He seems to be almost playing with them and when the music steps up, he steps backs. Great patience. Also, absolutely great arrangements by Nelson Riddle. All songs are in the three- to four-minute long range. You can't go wrong with any of these. To really do a thorough review, I would have needed to go back and listen to the original songs or at least the best-known versions for comparison. Unfortunately, no time for that. A song highlight for me is "I Got You Under My Skin" which is a Cole Porter tune where I had heard the orginal. Sinatra's delivery and the orchestra taking off midstream with the trombone and horns are tremendous. Other songs which I note for there uplifting spirit and overall excellence: "Too Marvelous for Words," "Pennies from Heaven " You Make Me Feel So Young." This is an album to lift you up on a rainy day or when you might be in a grumpy mood.

I am by no means qualified nor worthy to do justice to any sort of review of this album (as if I am of any of the other albums). But here it goes. This is a compilation of 11 tracks recorded by Davis' nonet (nine musicians) over three sessions between 1949 and 1950. The music was a major development in post-bebop jazz. Bebop is 1940's jazz with a fast tempo, complex chord progressions and changes of key. There are several songs that fit maybe more into the bebop fast tempo area. On the flipside is cool jazz which is a more relaxed tempo and this album is credited with starting this cool jazz movement. A number of songs fall in this category. One of the innovative arrangements used on this album is polyphony which is two or more independent melody lines. Again, multiple examples of this throughout the album. There is a lot more history and in-depth breakdown to this album and music but the above-mentioned musical techniques are the ones I found to standout while listening. This is another album with really not a bad song to choose. The first song is "Move" and it does just that rolling along fitting maybe more in the bebop category. A good example of the polyphony with multiple melodies. "Jeru" and "Venus De Milo" are slower tempo, definitely cool jazz. "Jeru" also has a couple outstanding horn solos. I learned a lot from this album. Definitely a good album to chill to. I'm sure to get more jazz and Miles in this challenge and it'll be interesting to see the differences. I'm sure to learn more.

I have to admit; I didn't pay too much attention to this album when it came out. Sure, I kind of liked "Fight For Your Right" but thought it gimmicky and didn't go any deeper than that into this album. That was a song that was played in between timeouts at a basketball game. And then "Paul's Boutique" and "Check Your Head" came out and I thought a little bit differently of these guys. This is the debut from the Beastie Boys and was produced by Rick Rubin. It's funny; this is the first time I've listen to this album. Yet, I've heard all of these songs a lot. A lot. Gimmicky? Yes. Silly lyrics? Yes. Tongue-in- cheek? Yes. Misogynistic lyrics? Well, yes at times. Great sampling? Yes! Great production? Yes. Do these songs rock? Absolutely, most of them. The sampling and production are outstanding. In "Brass Monkey, " they took a sample of a small part in the intro of Wild Sugar's "Bring It Here" and focused a whole song around it (and apparently a dance). "Paul Revere" was inspired by a weird meeting with a Run DMC member who later helped write the song. Also, an innovative use of a drumbeat played in reverse. Great sampling of Led Zeppelin in "Rhymin & Stealin," "She's Crafty" and "Time to Get It." Also, I counted no less than four songs where White Castle is mentioned. This album is fun, is innovative, and was an album I did miss in 1986. Although, I'm not sure without the hindsight, I would have thought any differently at the time than it's a gimmick.

Debut album from Roxy Music and along with their next album "For Your Pleasue" are the only albums with keyboardist Brian Eno. Descriptions of this music and this album are avant-garde, innovative, experimental, glam...I would agree to all that; at this point, this music is hard to define. I hear jazz, prog rock, 50's and early 60's rock and glam rock. Their latter albums have a more distinct style, a "Roxy Music" feel. A thing you do hear throughout are major contributions from each of their members. Every member seems to standout at different times from the sax, drums, guitar, Eno's keyboards and Bryan Ferry's piano and voice. The lyrics are mostly about romance or some aspect of a relationship. This album is considered a major influence on future rock and punk. I do hear that. The album kicks off with "Re-Make/Re-Model" which has a lot going on. Fast drumming, interesting guitar and guitar solo and at times sounds like jazz. It also sounds like a song perfectly fitting on a late 70's Talking Heads' album. On the next song, "Ladytron", I hear a lot of Gary Numan. Brian Eno makes his synthesizers sound like outer space. One of the best songs on the album. "Chance Meeting" is another song dominated by Eno. The US release (not UK) had "Virginia Plain," one of my favorite Roxy Music songs, and their only single connected with the album. It's a more traditional rock song structure with the Roxy Music style you'd hear later that decade. This album is considered one of the best debut albums and I think rightfully so. It showcases an immensely talented band and their initial unique sound.

I knew within five seconds of the first song "Apache" that I would like this album. This album started as a supplement to the soundtrack of B-film "The Thing with Two Heads." It is mostly cover songs using bongos, conga drums, rock drums, brass horns and guitar. The songs are all instrumental, mostly upbeat and funky and highly influential among hip hop artists - a lot of songs are sampled. To me, the sound is like "The Peter Gunn Theme" enhanced with bongos and funk. It's interesting; it does have a soundtrack feel but there are a lots of guitar, organ and other instrument solos making it feel also like a rock song. No need to further explain the song "Dueling Bongos" either. Great production also on this record. "Apache" starts with a great bongo and drum beat, horns and organ come and the funk kicks in. Great bongo solo. The orginal song was popular in the UK by The Shadows and in the US by Jørgen Ingmann. It also became very popular in the late 70's among hip hop artists. "Last Bongo in Belgium" is musically all over the place with organ jams, an impressive guitar solo sounding like Steely Dan, a few brass horns solos and of course, the multiple percussions keeping the rhythym. It has also been sampled by the Beastie Boys, Massive Attack and the Leftfield. I was in a bar last week, heard "In a Gadda da Vida" from the juke box and mentioned to a friend that has been a few years since I've heard this song. Little did I know, a week later I'd hear a bongoed-up version of "In a Gadda da Vida," a song that has also been used as the main loop in two Nas' songs. And, as if the orginal song isn't strange enough. I knew I was in for a unique experience when I saw this album pop up on the 1001 randomizer; It was to some extent but the real highlight was finding out about its influence and enjoying listening to the music.

The fifth and final (in his lifetime) studio album for Elliot Smith. The "Figure 8" title was taken from the Schoolhouse Rock TV show and is a reference to the endless pursuit of perfection. Smith's music can be described as power pop with very well constructed and arranged songs. On this album, the lead instruments switch between acoustic guitar, electric guitar and piano. Strings are sometimes used to accompany. Despite his struggles with depression and addiction, the lyrics and music are mostly happy with the content ranging from autobiographical (fame, relationships, depression, drug issues), relationships in general and possibly stories. He does leave a lot open for interpretation and multiple meanings. I've always liked Elliot Smith and there is a lot to like here. But the flipside, there are 16 songs and this is a lot of Elliot Smith. The album starts with "Son of Sam" and its rolling piano, nice guitar solo and, I think, a song about self-discovery, both good and bad. Elliot Smth had moved to LA and one of my favorite songs is "L.A." with its straight-forward rock/pop and a great guitar chorus. It appears to be a happy song. "Stupidity Ties" has a nice arrangement and atmosphere and has an interesting premise: if make yourself stupid you forget about the impossible. Overall, this is a very good album, maybe lengthy though. I do think his previous two albums, "XO" and "Either/Or" are better.

It's funny I was just listening to this album the other day digging through albums that had sampled The Incredible Bongo Band. And they did sample "Apache" in the song "Thought@Work." This is The Roots' fifth studio album and has a lot of contributors including Ursula Rucker, Nelly Furtado, Talib Kweli, Cody Chesnutt, Musiq, Jill Scott and poet Amiri Baraka. The album is named after the discredited pseudoscience of Phrenology which was the study of head shapes to determine intelligence and character and rationalized racism in the 19th century. Wow! Learn something new everyday, some which make you shake your head or worse. Anyway, subject matter-wise, I did not hear a songs about racism per se, but on a variety of other subjects: anti-ganster, certain aspects of the inner city and hip hop culture, relationships and band member issues. Yeah, covering a lot, as does the music described as hip hop incorporating elements of rock, jazz, techno, hardcore punk and soul. This is a big album trying to do a lot and it accomplishes it with everything I heard. It is not really sprawling but has a focus to it as you listen. Lots of good songs on this album. As previously mentioned, " Thought@Work" samples "Apache" and has a great groove. Talk about a great groove, "The Seed (2.0)" featuring Cody ChesnuTT and remixing his song sounds like vintage 1973 Isley Brothers with a very soulful feel. The song is based on Muddy Waters' "The Blues Had a Baby and Named it Rock and Roll" using that forvhip hop to neo-soul in a very innovative way. The first single off the album "Break You Off" is another great soul-based song about trying to steal someone's girlfriend. A great majestic orchestra ending. This album is 77 minutes but does not seem nearly that long and is well- worth the listen.

This is The Yardbirds' only studio UK album and third US album. It is the only album with Jeff Beck on all tracks and, boy, does he bring it on most of the songs. I've never dug extremely deep into the Yardbirds, kind of always thinking of them with that lead harmonica and guitar combination and a bluesy feel which eventually led into Led Zeppelin. Well, you hear that here too but a whole lot more as well. There is a heavy psychedelic element to a lot of these songs. A few, slow sing-along type songs, a heavy percussion-based song with chanting and some straight-forward rock songs. Black Sabbath was without a doubt listening to their last song, "Ever Since the World Began," at least the intro. Definitely, a more varied album than I was expecting. "Lost Women" starts the album in a very bluesy way and sounds kind of "quenessital" Yardbirds. It then kicks in with a long harmonica solo and Beck ending it with a Bo Diddley-esque guitar riff. The second song "Over Under Sideways Down" is the only single from this album and introduces a pyschedelic guitar intro and chorus to basically a blues beat. Outstanding. "The Nazz Are Blue" showcases Beck as lead singer and especially his bluesy guitar as it just rips. "What Do You Want" is their most straight-forward rock sounding song and ends with a searing guitar solo. Jeff Beck is a highlight of this album but this is also a very, very good band. Outstanding and innovative. A great time finally digging into this.

This is The Eagles first album, after being the touring band for Linda Ronstadt (Ah, now I get the Frank Zappa reference to Linda Ronstadt having an opening in her band during Steve Vai's tryout for him). It was produced by Glyn Johns who pushed for them to become a more country band with great harmonies. Glenn Frey and Don Henley wanted a more rock sound. The end result is this album put in the "Country Rock" category. Some critics had a hard time with the country part given the band members' background lacking in that area. Anyway, I hear elements of country with ballads and some of the instrumentation including banjos. I also hear the rock part with some pretty straight-forward rock songs. What they did establish was their excellent vocal harmonization which would carry throughout their career. The lead singers are actually split among all four orginal members: Glenn Fry, Don Henley, Randy Meisner and Bernie Leadon. That would obviously change to some extent in the future. I actually enjoyed listening to this album especially some of their lesser known songs. There are three US radio rock staples on this album. "Take It Easy" and "Peaceful Easy Feeling" define West Coast Country Rock. My favorite of the popular three is "Witchy Women." Sung by Henley it definitely fits more into the rock category and still sounds unique and fresh to me. As I previously mentioned, I dug a few of the more deeper cuts. "Take the Devil" is the most rockin' song on the album. Sung by Randy Meisner, it has a Crosby, Stills and Nash feel to it and ends with a great guitar riff/solo. "Earlybird" has more of that country feel with a banjo and Bernie Leadon as lead singer. Great harmonization also. Even if the Eagles didn't become one of the biggest bands of the 70's, the album still showcases a band with a lot talent and very good songs. Their popularity and somewhat negative criticism because of that and this musical style did not distract me from enjoying this album.

This is the debut album from the New York-based band Suicide which is composed of vocalist Alan Vega and instrumentalist Martin Rev. The music is described as synth-punk, no wave, electronic rock, synth-pop and minimalist. The music is basically a repetitive rhythm, a few synthesizers sounding like an organ, xylophone or some other instrument and lyrics which are minimal, repetitive and sometimes screamed. The one thing this music does do is create an atmosphere which is very eerie and haunting. Hypnotic is also a good descriptor. This album is considered an electronic music landmark and was highly influential to a lot of artists...I hear that. By the way, this album and music totally work for me. To experience this album and music, it really needs to be listened to. How can I convince anyone that repetitive drums with random noises and screams is great music? Maybe I will. "Ghost Rider" starts out like electronic music and punk had a baby with a driving beat, amped up synthesizer and Alan Vega using very few lyrics in a very repetitive way and in a lot a ways felt like trying to translate a Wiliam Gibson novel (aka cyberpunk) into music. Early 90's Trent Reznor and Nine Inch Nails were listening. "Cheree" has a Kraftwerk-Autobahn-type synthesizer sound, is a love song and adds a nice xylophone to the chorus. It is very hypnotic and somehow, it works. "Frankie Teardrop" may be the scariest song I've ever heard. It starts with a repetitive synth-sound which sounds like it's stuck. The song is about Frankie who has a family, loses his job, gets a gun and very bad things happen after that. It's a 10-minute long song with the last four minutes being bloodcurling screams and random and weird synthesizer sounds. Bruce Springsteen based a song on his "Nebraska " album on this song and Henry Rollins described it as the most intense song he's ever heard. I'd agree. This album is not for everyone but it is highly influential and definitely an artistic achievement.

Bob Dylan's 6th studio album and with rock musicians on 10 of the 11 tracks. He's gone electric which I guess was a big deal back in the day to some. Dylan was drained by touring and his current music; that's when he wrote "Like A Rolling Stone" which apparently changed his disposition and onward he went to make this landmark album. The title is named after the highway connecting his hometown, near Duluth, with the great musical heritage cities/areas of the south (St. Louis, Memphis, New Orleans, Mississippi Delta Blues Area). Connecting that reference, besides the first song, "Like A Rolling Stone," (maybe due to it being ingrained in my memory) and the last song (acoustic) "Desolation Row," this album really is a blues album to me. In fact, the songs kind of alternate up tempo and slower paced throughout. You can go a lot directions with highlights on this album: the music, the playing, the instruments used, the lyrics, etc., etc. The second song "Tombstone Blues" starts a fast- paced bluesy number with Dylan about contemporary Americans at the time and the Vietnam War. "Ballad of a Thin Man" is slower with piano and organ and lyrics about how being educated doesn't mean you know what's going on. The siren whistle says it all for "Highway 61 Revisted." "Desolation Row" concludes the album with a 11 minute long acoustic epic going all the place lyrically. He's obviously making political commentary. The album is consistently put among the best albums of all time. The one thing that stood out for me listening to it this time is how blues-oriented it is. That and being bookmarked by two classic songs does make for a great album.

This is David Gray's fourth album and was a huge success. The album spent three years in the UK top 100 and is the best selling album ever in Ireland. Wow! Not bad for a singer-songwriter who recorded this in his apartment. I can see why it's included in this 1001 list, I guess. It's easy enough listening for me. Nothing making me want to jump immediately on Amazon to order the vinyl but nothing stopping me from appeciating this singer-song writer and well-crafted songs either. These songs are about some aspect of love, a relationship or a breakup. The music is more in the folk-pop style led by a piano and/or acoustic guitar. The drumming is slow and sometimes electronic. Gray said this album paved the way for folk-pop idols like Ed Sheeran and James Blunt. OK. Something tells me they might have been successful nonetheless. I do hear a vocal and music style similar in Amen Dunes which is something since he has some fantastic songs. There were five singles released from this album. "Babylon" and "Please Forgive Me" received very heavy air play in the US and are the two songs I thought of immediately when I saw this album pop up this morning. The album ends with the last three single- released songs "This Years' Love," "Sail Away," and "Say Hello Wave Goodbye." Of particular note, "Say Hello Wave Goodbye" is a nine minute cover of The Soft Cell song and maybe my favorite on the album. There is not really a drop off in the other songs as everything here is well crafted as previously mentioned. Overall, this was an enjoyable-enough listen if not lighting my pants on fire. What was lit on fire were the album sales charts which makes this album at the very least historical.

Ray Charles 18th overall album featuring country, folk and western music standards reworked in popular song forms - R&B, pop and jazz. This album got lots of airplay on both R&B and country music stations. Ray said he didn't see a lot of difference in blues and country music. Given a lot artistic freedom the idea came to do this album which is absolutely incredible. His A&R man, Ray Feller went through 250 country songs to pick from. The songs are mostly love and heartbreak ballads as you would expect. The backing music are strings, horns, Ray's piano and voice and great backing vocals. Every song on this album is worth listening to. He creates an extremely unique style. I would like to go back and compare the original country version to Ray's. Two standout tracks are both near the end. What a great vocal delivery on "Careless Love." His voice just soars with the strings in the background. "I Can't Stop Loving You" is a classic example to the point that there really isn't much difference between blues and country. This song fits both...just great backing vocals and probably my favorite Ray Charles song. This was an historically important album crossing racial borders in a very racially-charged time. A timeless performance and album.

This is Dire Straits' debut album which was released in the fall of 1978 but took five months before "Sultans of Swing" and the album became big. The first thing I notice is the well-placed guitar lines and solos. There really isn't any excess, very economical. Also, each song has sort of a unique guitar approach; I really like the diversity of guitar sounds. You could put the music itself in the blues and/or country category. I hear elements of both. I also hear a lot of the guitar sounding like early to mid-70's Eric Clapton which is a good thing to me. Lyrically, the first half of the album is about some aspect of a relationship, in three cases, a woman doing him wrong. The second half songs are more stories or observations which was a good change. "Down to the Waterline" starts out "Dire Straits" with just great and well-placed rhythm and lead guitar parts. Nothing wasted. There are at least three songs with a heavy Eric Clapton influence, my favorite being "Southbound Again." And then you have "Sultans of Swing", another song with just a great guitar riff and solo; I also have always liked the drumming and who doesn't love a song about a rock band. Unbelievably, besides their very last album, this is only other album I haven't heard completely. And this is a very good album at that, really no missteps, and one I would put near the top of their catalogue.

This is Tom Waits' 8th studio album and his first one away from conventional piano'-based music to more abstract and experimental. Yeah, a lot of these songs have horns, various percussions, weird sounds and, of course, Tom's gravelly voice. The album is worth it alone just for the unique stories he tells and then you add in the various instruments and noises. Never a dull moment. Most the songs have lyrics. There a few instrumentals, one which sounds has a vaudeville atmosphere. There are plenty of song highlights. "Shore Leave" tells a first-person account of a soldier leaving on a boat traveling through Asia and elsewhere accompanied by creepy percussions, bass and random noises and screams. In "16 Shells from a Thirty-Ought-Six," a farmer takes his frustration out shooting a crow or scarecrow sixteen times. The song has a unique time signature and noises sounding like a gun is getting reloaded. "Frank's Wild Years" is a story about Frank who eventually burns down his house and rides off on the Freeway. It has one of the great lines about his wife and dog "His wife was a spent piece of used jet trash,"Had a Chihuahua named Carlos that had some sort of skin disease and was totally blind." Tom went on to name an album by the same name a few years later. This is a fun and unique album. I know there are a few more Tom Waits' albums to come which should be just as enjoyable.

This is Guns N' Roses debut album (duh) which became famous a year after its release. You know, I do remember hearing "Welcome to the Jungle" before this album blew up which I liked (and still do) quite a bit. And blew up, it did; you couldn't turn on MTV without seeing one of their videos within half an hour, they were constantly played on rock radio for the next ten years and at the college I was at, just about every local band I saw in 1988/1989 covered "Sweet Child O' Mine." Given all that, this album still rocks. It is firmly in the hard rock category but there are parts of certain songs that take it in a heavier, somewhat funky or more punk direction. The songs were written while they were on their LA club circuit and actually, a bunch of these songs ended up on future albums. The songs were written by individual band members, not as a group, and what is unique is when they name names they name actual real people names. Walk the walk. The album has a side G (Guns) which has songs about the inner city, drugs, getting drunk and the police and a side R (Roses) which has songs about girls, love and relationships. I did not know. I thought I might have trouble finding anything to speak of or even like given the iconic and over-played nature of some of these songs. I guess time heals somewhat; there's plenty to like. "Mr. Brownstone" is about the daily rock and roll grind and an increasing heroin habit. Slash wrote this song and Izzy's guitar riffs and Slash's solo are great. It also has a solid backing rhythm. Speaking of great guitar, "Paradise City" is probably my favorite GNR song. I can't believe I just said that. But, especially in the verses and the last part of the song, the band just kicks this into gear and you do hear the punk and metal influence especially in the guitar. The two song highlights from the R-side are both name name songs. "My Michelle" is about their friend Michelle Young who is basically a train wreck. The backing music is heavy, changes pace and fits the song. "Rocket Queen" is about LA underground scene leader Barbi Von Grief and there is actual sound footage of sex. An appropriate way to end this album. I was/am not the biggest GNR fan but found a lot to really enjoy in this album I had forgotten about. Note: I included both albums covers. The one on the left showing a robot rapist being attacked by some metal avenger was pulled prior to the initial release. They tried to use that cover again on a reissue. Again, pulled prior to the release.

I need to remember to listen to Eno's albums more often! "Here Come The Warm Jets" is Brian Eno's debut album after leaving Roxy Music and is described as blending glam and pop with avant garde approaches. I would agree with that and maybe have used experimental (same thing). Eno used 16 guest musicians from Roxy Music, Hawkwind, Matching Mole, Pink Fairies, Sharks, Sweetfield and King Crimson. He got together these musicians which he thought incompatible to see what may happen. Needless to say, he liked the results. The songs vary from fairly simple pop to very experimental and a lot going on musically. Instruments used/listed include a simplistic piano, snake guitar and electric larynx. For me, the guitar riffs and solos stand out. Interestingly, Eno would sing random vocals r during the writing enetually putting in lyrics at the end. This begins an incredible stretch of great albums in the 70's for him. There's a lot of great songs and moments to highlight. As I mentioned, I gravitated towards the unique guitar songs. "Needles in the Camel's Eye" starts the album off with a great driving guitar riff courtesy of Phil Manzanera. The music has a 60's pop feel and great vocals which are almost in the background. "Baby's on Fire" has "Shaft-like" constant top hat drumming with a absolute blazing guitar solo from Robert Fripp. Eno's nasally vocal delivery tells the fantasy/dream of a baby on fire at a photography session with unthinking/laughing observers. Or so I read. Another song inspired by a dream, "On Some Faraway Beach" romantisizes lying on a beach and is the pretty much a piano pop song. "Here Comes the Warm Jets" ends the albums with a surf or jet-like guitar throughout and is what the album is named for. The drumming and eventually lyrics slowly build toward the end. This album is near the top of Eno for me and is definitely worth its praise.

Ah, my second Eagles' album and this must also be my California week with 3 out the five artists from LA. This is the Eagles' fifth album with Joe Walsh replacing founding member Bernie Leadon on guitar. It found them moving away from country rock into more rock. Although, there still are some slower-paced songs. In fact, each side closer, "Wasted Time" and "The Last Resort " has a pretty lush string arrangement. According to Don Henley, the album is about the loss of innocence, perils of fame, illusions vs. reality. I agree with that especially the title song. However, there are a number of songs about relationships too. Henley also said this was the peak of the band and they starting growing apart after this. I guess hard to top one of the best selling albums of all time. Besides the title track, other standouts include: "New Kid in Town" - just a nice sounding song, more in that country rock genre to me, "Life in the Fast Lane" - OK, this is more rock, written by Glenn Frey after a discussion with his drug dealer, I can't help thinking about that band covering this song in "Fast Times at Ridgemont High," "Victum of Love" - always liked the guitar. This album was easy to listen to with its iconic songs. Honestly, I'd give the slight edge, for me, to their first album which I just had last week.

"Pink Flag" is the brilliant debut album from Wire. Classifying Wire is almost impossible; Throughout their career they've like had like four iterations. I would definitely put this in the punk category with 21 songs clocking in at 35 minutes. There are some similarities to the Ramones (1,2,3,4). However, some of their songs have a much more darker and grungier edge. There are some songs with no choruses that just end after 45 seconds. That's punk. The songs seem to fall into three categories to me: pop-rock with choruses, dark driving more grungy and straight-forward punk. Lyrically, this album jumps all around from political, social, and a bunch of other topics. This album was heavily influential with covers/samples by Henry Rollins, Elastica, Minor Threat, Firehouse, the Minutemen and R.E.M. Two of my favorite songs follow more in pop-rock category: I can't play "Three Girl Rhumba" without hearing Elastica's "Connection." Just listen. Also, I won't be able to get the great chorus "Stay glued to your TV set" out of my head all day after listening to "Ex Lion Tamer." In the grungy dark category, "Pink Flag" has an eerie percussion beginning and then kicks in with their driving guitars and ends in a very punk way. "Strange" is the longest song on the album at four minutes and is driven by a distorted guitar and ends with screams and echos. How R.E.M. reconstructed this song into a pop song is quite the reinterpretation. "12XU" ends the album in a straight-forward punk way. Great, simplistic lyrics. This is a great album. I could re-write this second paragraph with five different songs. I would also say that I haven't heard a bad Wire album. All of them are worth checking out to some extent.

"You Want It Darker" is Cohen's 14th album and the last one released during his lifetime. These songs seem to be about some aspect of his impending death and limited time left whether it's addressing his current and former spirituality and God, saying a farewell to lovers or looking back at relationships and comparing that to himself now. Cohen speaks his lyrics with his deep voice which is musically progressed with strings, piano or guitar....very sparse. All these songs are worth listening to just for his lyrics alone. "You Want It Darker" has organs, minimal drums and a background male choir giving the song almost a church chamber feel. "If I Didn't Have Your Love" is a staight-forward love song looking back at a lover. "Traveling Light" has a spanish-style guitar and strings. Cohen lyrics have a dual meaning about traveling light in former relationships and also now as he is departing. Surprisingly, I did not find this album depressing or extremely dark at all but rather spiritually uplifting in his lyrics and especially the background male and female vocals; it gave some of the songs more of a soulful feel. Similar to my comment on Wire yesterday, everything I've heard from Leonard Cohen is worth checking out to some extent.

This is Rod Stewart's third album where all members of his current band at the time, Faces, appeared. The music on the album is described as rock, folk, blues, country and soul. All those styles are easily heard throughout the album. The album is essentially classic Rod Stewart orginal songs and great cover versions of other songs. There is a looseness to the playing that almost gives it a jam band feel. Stewart's vocal delivery is pretty much phenomenal; is it his best career moment? All of these songs are about girlfriends, former lovers, current lovers or relationships. The title track, "Every Picture Tells a Story," has always had an urgency in the music and his vocals that I've really liked and never really heard again from him. It's loose but it rocks. "Maggie May" was a B-side to "Reason to Believe" and became the albums' biggest hit. Just great vocals and an iconic song. Another B-side song, " Mandolin Wind" is the highlight of the album for me with its mandolin, slide guitar and heartbreaking lyrics about sticking with his lover/wife/girlfriend through sickness. Just a masterpiece. I also really like the rockin" Temptations cover "I'm Losing You." So, this is what Rod Stewart can be and was...a pretty high achievement.

"At Fillmore East" is the Allman Brothers Band's first live and third overall album. I like their quote that they do not consider themselves a jam band but a band that jams. And jam, they do indeed on this. This was recorded over two nights at the Fillmore East in NYC. The original release was a double album containing seven songs with two songs, "You Don't Love Me" and "Whipping Post" each with a dedicated side all to themselves. Obviously, most these songs are extended to some extent with the Brothers putting on quite the jam especially Duane Allman and Dickie Betts on guitar. This album is also one of those selected for preservation in the Library of Congress for its cultural, historical or aesthetically importance by the National Recording Registry. These songs all have some level of guitar, drum, organ or bass solos to them. Their music contains aspects of blues, jazz and rock, a lot of times within the same song. "Stormy Monday" has a bluesy start with aspects of jazz and the highlight for me being the guitar solos of Betts and Allman. The 13-minute "In Memory of Elizabeth Reed" has a bass solo, an organ solo and of a mind-blowing guitar solo at the end. Good use of two drummers. And, of course, the 23-minute "Whipping Post" ends the album with a chaotic finish highlighting every instrument they have. If you like hearing a rockin band jam with one of the best guitarist ever in Duane Allman, this is your album.

This album hit the spot for me today. Maybe, I just needed a straight-forward rocker with most songs headed in one direction (don't go there). "Highway to Hell" is AC/DC's sixth and final album with lead singer Bon Scott. Evidently producer Robert John "Mutt" Lange had a major impact, influencing Bon Scott's vocals and Angus Young's guitar riffs. This a great album highlighted by Bon Scott's scratchy, screaming, raw vocals, the guitar interactions of the Young brothers and a rock solid rhythm section. The songs tend to fall in the sex, lust and partying categories. Imagine that. Scott said he wanted to loosen up the lyrics since he thought the previous album "Powerage" ones were too serious. "Highway to Hell" starts things off with an absolute classic guitar intro leading into Bon Scott's vocals. The meaning of the song is either being on the road touring for a lkng time or a horrible desert stretch of highway in Australia. Both work for me. "Girls Got Rhythm" might be my favorite song on the album with absolute killer rhythm guitar. "Walk Over You" is the most rockin song on the album and is some of the hardest music I've heard from this band. "Night Prowler" ends the album with a slower, dark song about a guy sneaking into his girlfriend's room. The song became famous or infamous for serial killer Richard Rodriguez's liking it. I had "Back in Black" a few months ago and I can't tell you which album I like better. Both have great high points and rock throughout, so....flip a coin and play one.

The debut album by Jimi Hendrix and considered to be one of the best albums of all time. After listening to this album and songs so many times, I initially had difficulty deciding how to listen to it this time. I decided on what influences and styles am I hearing. And, I heard at core, blues, jazz, some funk, folk, Indian Raga and a lot of Yardbirds. But most of all, it was Hendrix's guitar solos, noises, layers, rhythm and everything else that took the fusion of those styles over the top to make it so unique and great. This album was recorded over five months in 16 sessions at three different locations in London. Jimi had moved to London several months earlier at the request of his manager, Chas Chandler, to recruit band members which then included Noel Redding (bass) and Mitch Mitchell (drums). This is one those albums chosen by the Library of Congress to include in the National Recording Registry for its cultural significance. Yes. Besides the previously mentioned how, the other question is what songs and order of songs are you going to listen in and to. There is a different UK version which excluded the three previously released singles and a different album cover than the US version. Actually, there are six different track listings for this album. I went with the CD version which included all 17 songs. How could the US version not include "Red House?" Does song order matter on this album? Maybe? I don't know. Although, the last song does need to be "Are You Experienced?" Hard to pick out favorites here. Pretty much all classics or at least something interesting to say. "Purple Haze" starts things off (on the US version) with just a classic guitar intro. The guitar then takes a pyschedelic turn sounding like the Byrds. The rhythm section is classic blues. I always liked the chaotic and pyschedelic "Manic Depression" which has a weird time signature (3/4) more like a waltz. Hendrix's cover of "Hey Joe" is the song that got him recognized in NYC. The first thing I think of when I hear "Fire" are Mitch Mitchell's drums but the bass and Jimi's solo are awesome too. One of my favorite Hendrix songs is "Red House", classic blues sounding like the Yardbirds, starts out with more of BB King influenced riff and then Jimi takes it to a whole another world with his solos and improvisation. Listening to and reading about this album brought up memories of seeing the Hendrix exhibit at Seattle's Museum of Pop Culture. I think the exhibit is permanent, definitely worth checking out. Ah, and I have two more Hendrix album coming up at some point. Lucky me.

I remember seeing Green Day at the Red Dog Saloon in Santa Barbara, CA like a week after this album was released. Green Day was supposed to open for the Counting Crows but for some reason the Counting Crows cancelled and Green Day played at a smaller venue, to our benefit. They were fantastic (no thoughts of the Rock and Roll Hall of Fame at this point though). Nothing against the Counting Crows, I kind of liked them at the time (still do actually to some extent). This is the third Green Day album and first on a major label. That was a big deal at the time. The student poulation of UCSB was pretty much split 50/50 between Northern and Southern Cali and Green Day was a very big Bay area punk band. Lots of Green Day stickers on cars and VW vans (no kiddin) and tons of concern of them selling out. Selling out or not, this is one of the best punk-pop records ever. No. Not political. Not making a statement. Not changing the shape of music...well, maybe actually. This album still sounds great and rocks. At the core, songs with great melodies, a punk base and about being bored, masturation, anxiety, former girlfriends and going crazy. What else do you need? Really no bad songs. Most short and to the point. "Longview" was the first single and is an outstanding example of how to do the soft-loud-soft-loud dynamic. Take note Emo people. When I think of Green Day, I hear the opening lyrics of "Basket Case" for some reason. Maybe it is the most Green Day song they have. "When I Come Around" may be my favorite Green Day song just a great guitar chorus and vibe to this song. For some reason, you know Green Day is a great example of a band my generation (50's) and the current generation (teens/20's) both seem to like...a lot. And, it's not the later Green Day; it's songs from this album. There must be a reason for that.

This must be my college-age heavy-hitters' week. "Disintergration" is the The Cure's 8th album and a return to the Goth dark side. Robert Smith was depressed at turning 30 (oh boy) and the band was not happy about the "pop" success of the previous two albums. This prompted a return to Goth and a more depressed style of music. However, this album is not a totally depressing album; some of these songs are actually happy (to me). But, yes, there is an overriding atmosphere of darkness. Also, Smith had lapsed back into taking hallucinogens to deal with his depression, affecting the music (more on that later). I've always felt this album was their culmination combining their earlier Goth and recent pop. There's a few ways you can go with songs on this album: the popular, more upbeat or those representing the more deep, dark atmosphere/mood. Let's do both. When I think of The Cure, the first song that pops into my head is "Pictures of You." Just a great rhythm, Goth guitar progression and chorus and of course, the lyrics (smashing my pictures of you). The most Cure Cure song. "Lovesong" was written for his future wife and has a great innovative music base with its bass/drum/ guitar intro and synthesizer chorus and bridge. "Lullaby" might have my favorite lyric of the 80's: "Spiderman is having me for dinner tonight." A great example of combining LSD with "Nightmare on Elm Street" thoughts....throughout the song actually. The title track "Disintegration" is my favorite song for capturing the album's mood with a killer bass line and dark groove. Some people say The Cure reached their peak with this album. Maybe. I think they have a couple good ones after but no doubt, this is a great one.

"Born to Run" is Springsteen's third studio album. There was a lot of pressure for Bruce to produce as he was given an enormous budget. It took him 14 months to record but produce he did. Bruce wanted a "Wall of Sound," as he described "Roy Orbison singing Bob Dylan as Phil Spector produces." Very high goals. I don't know if he achieved that exactly but I do hear the wall of sound; the album does sound big. A lot of these songs were/are US rock radio staples. Nowadays, I listen less to rock/classic rock radio but when I do, it's usually when they play vinyl sides. And, they always seem to play a side of this album. So, my view of this album has definitely changed from a collection of rock radio songs to more of an album as a whole. That is a good thing. By the way, both sides are equal in my opinion. I would think the artist and producer give a lot of thought to the order of songs on an album. A fair number of times I can't figure the reason though. On this album, the song order is important as the album is cornered or bookmarked; both album sides start off with songs about escape, running away, freedom - ""Thunder Road" and "Born To Run." And both sides end with sad epic songs focusing on the neighborhood -"Backstreets" and "Jungleland." All iconic songs and highlights in Springsteen concerts. I'm also a fan of "Tenth Avenue Freeze Out" - the horns and 60's sound and "She's the One" - love the initial piano and how the songs builds. Sometimes it's difficult to think of anything to say about an album as iconic as this. Luckily, I heard at least one side recently which made me think differently and gave me at least something to say.

This is a live album featuring Sarah Vaughan and her trio recorded at the legendary Chicago jazz club Mister Kelly's on Rush St in 1957. Sarah Vaughan also known as "Sassy" and "The Divine One" was a decorated (Grammy's, jazz awards) jazz vocalist starting in the 1940's with a great, tremendous voice. Her trio consisted of Jimmy Jones-piano, Richard Davis-double bass and Roy Haynes-drums. The songs have Sarah covering jazz and musical standards from the 20's, 30's, 40's and 50's. This is a pretty laid back affair: Sarah's voice dominates with a softer jazz backing band. The man who introduces the concert tells the audience she will be singing from lyric sheets. And, in a few songs she flat out says she doesn't know the lyrics. One of those songs, "How High the Moon", is one of my favorite on the album as she says it's an Ella Fitzgerald song, doesn't know the lyrics and starts improvising. It was fantastic. Other song highlights included "Stairway to the Star" - Incredible vocal ending, "Lucky in Love" and "Poor Butterfly." I'd imagine this would hit the spot on a Sunday afternoon while reading a book or doing something. Honestly, at 113 minutes, it was rather long. If your into more relaxing jazz music with an incredible vocalist, this is your album. I appreciated it for that.

"The Queen is Dead" is the Smiths' 3rd studio album and was primarily recorded in the second half of 1985. Produced by Johnny Marr, Morrissey and Stephen Street, Marr said he was heavily influenced by the Velvet Underground, The Stooges and the Detroit garage scene. I honestly don't think I would pick any one of those bands given 20 guesses but, hey, the music is great is so...Speaking of great, Morrissey's lyrics are pretty much brilliant - satirical, self-deprecating and personal. He covers the monarchy, record industry, loneliness, relationships, plagiarism and social commentary on the female anatomy. At times, I thought Marr's music didn't match up with Morrissey's lyrics. Maybe, they were going for a dichotomy of lyrics and music, a la Dylan's "Rainy Day Woman." I don't think that anymore; the music matches up really well to the lyrics and may actually suggest dual meaning to some of these songs. No duds on this album. Morrissey's lyrics and Marr's melodies make all songs worth checking out to some extent. "The Queen Is Dead" starts the album with a sample from a 1962 British film and the band kicks it in with their most rockin song on the album. Marr had worked on this song since he was a teenager and the lyrics are apparently about the disconnect between the royal family and reality. The second side begins with two songs about the record industry and happen to be their two singles. "Bigmouth Strikes Again" was inspired by the Stones "Jumpin' Jack Flash" and has some pretty self-deprecating lyrics. I always loved the acoustic guitar chorus and electric guitar breaks. "The Boy with the Thorn in His Side" happens to be Morrissey's favorite Smiths' song and about the difficulties dealing with the music industry. My favorite song on the album and maybe my favorite Smiths' tune is "There Is a Light That Never Goes Out:" a lonely person that gets happy and could care less if they died right then and there. At first, a song I thought the happy music didn't match the idea of getting run over by a bus. But, this actually is a happy song in a Morrissey sort of way. It's always great to revisit this album. To me this is The Smiths' best album and deserves its place among the top albums of the 80's.

"Entertainment!" is the debut album from the Leeds' band Gang of Four. Credited as one of the first post-punk bands and encorporating funk, Dance, Reggae and Dub. Their music is very much unique: a very aggressive, angular guitar with an idiosyncratic rhythm. The guitarist, at times, almost sounds like each note he plays is giving him an electric shock. The closest musical comparison I can think of is a weirder version of Devo if that's possible. The lyrics are politically far left - Situationism, feminism, theory of alienation on personal life and commodification. I obviously had to look up three of these four ideologies. Given all this, this makes for one heck of an interesting and orginal listen. "Ether" starts things off with a weird time signature from the rhythm section and that angular, aggressive guitar which almost sounds like a gun. Which is interesting, since the song is about internment (basically imprisonment) of the IRA by the British. "Damaged Goods" is the one song I've heard the most from this album. It has great driving guitar and dance beat. Undoubtedly, Bloc Party was listening. Supposedly about the effect of capitalism on a relationship. OK. A similar sounding song "I Found That Essence Rare" states that the worst thing about the 1950's were bikinis and is actually a reference to the H-bomb testing on Bikini Island. A great example of that guitar sounding like it's giving the guitarist an electric shock is "At Home He's a Tourist." Great bass line and rocking end too. I forgot how different sounding this album was/is. A pleasure going back to this one and especially hearing their influence on some future bands.

This must be my 1979 week. "Quiet Life" is the 3rd album from the English band Japan and marked their transition from glam rock to more synth-pop. The band collaborated heavily with Giorgio Moroder and the album was produced by John Punter who produced Roxy Music. Both of those influences are heard pretty heavily throughout. Another heavy influence is David Bowie and his Low album. Speaking of influences, if you wouldn't had told me whom I listening to, I would have said early Duran Duran. Their lead singer David Sylvian is a dead-ringer for Simon Le Bon. Or maybe visa versa. The bass and drumming are also very similar. Who knew there was musical line from Roxy Music to Duran Duran with Japan being the connector. Well, maybe just to me. Which is good, since I do like Roxy Music and Duran Duran; one would conclude that I would like this album and I do for the most part. I do believe there is some filler here and I do think their Velvet Underground cover of "All Tomorrow's Parties" is just OK. Original though. There are some some really songs. The album starts with title track which has a dance beat and kind of dreamy-sounding keyboards. The influence of Giorgio Moroder and on Duran Duran are both heard, which is a song about them struggling for success as well as noticing all the scenery as they tour. "In Vogue" is mostly instrumental with only three verses, sung in French, for a 6:29 minute-long song. It has an interesting bass intro, a dance beat and a haunting keyboard melody. The influence of Roxy Music is prominent. "Halloween" starts the second side with a saxophone and has a eerie keyboard sound in the background. I don't think the song has anything to do with the holiday. Overall, a good listen. This band was much bigger in the UK than in the States. I really only listened to them within the last ten years. A band definitely worth checking out if you're a fan of the early to mid-1980's synth-pop scene.

"The Lamb Lies Down on Broadway" is the 6th studio album for Genesis. It is a double album and the last one with Peter Gabriel as lead singer. It is also a concept album (boy, is it ever) about a Puerto Rican boy, Rael, from the Bronx who goes on a self-discovery adventure in NYC and faces challenges with family ( I think his brother betrays him like two or three times), authority, sex, love and self-sacrifice. The story is both easy and hard to follow the exact details. Peter Gabriel wrote the story and all the lyrics and said it was loosely based on "West Side Story," several pyscological concepts and the western film "El Topo." The first part is more about Raul discovering the outside of NYC and the second side is more fantasy with caves (lots of caves), mythological beings (Lama, Slippermen), ravens, boats and rivers. I really don't know if Rael ends up dead or alive at the end. Although Genesis wanted to avoid the Prog Rock moniker, this is solid prog rock. Musically, the synthesizers, organs, piano and keyboards of Tony Banks and the drumming of Phil Collins are the highlights. To experience this album, you really need to listen to it whole. It is exhausting though at 1 hour 34 minutes and with the entire storyline. For me, the song highlights are the ones you here on the radio (at least in the US). I always liked the title track for Gabriel's vocals (both lead and backing) and the keyboards and piano. It starts Rael off on his journey after apparently witnessing a lamb lying down on Broadway (not entirely clear). "The Carpet Crawlers" has the best and weirdest story, Rael in a room of people on their knees (the carpet crawlers) going towards a door and a Spiral staircase. Well, in the next few songs, Rael goes up the spiral staircase to a room filled with 32 doors and is eventually rescued by a blind women whom he leads across the floor. Anyway, Banks' keyboards and Collins' drums/drum programming are great in "The Carpet Crawlers." If you're a Genesis, Prog Rock, concept album or maybe even a fantasy fan, this album should be right up your alley.

For some reason growing up I was never a big Doors fan, always thinking they were more of "B"-level band. I'd say that changed in the last 15 to 20 years and I appeciate most their music quite a bit. "Morrison Hotel" is the The Doors fifth album and their fifth album in three years. It marked a return to their more blues-style rock from the previous album "The Soft Parade" which encorporated strings and brass (horns). The album is divided into two sides, "Hard Rock Cafe" and "Morrison Hotel." The "Hard Rock Cafe" side has all the hit songs ("Roadhouse Blues," "Waiting for the Sun," "You Make Me Real" and "Peace Frog") and more variety in the music and lyrics. The "Morrison Hotel" side has more songs about love and relationships. The album starts with the blues banger "Roadhouse Blues." How could you not like a song with lyric "I woke up this morning and I got myself a beer." Just a song with a bad-ass vibe featuring John Sebastian on harmonica and Lonnie Mack on bass. Swagger. Swagger. Swagger. "You Make Me Real" was the only single released ("Roadhouse Blues" was the B-side) and is a great combination of the Yardbirds and boogie. Yes! "Peace Frog" has just a great groove and funk with the wah-wah guitar and bass line. Apparently, based on Morrison's poems and personal experience with a car crash and getting arrested in New Hampshire. "Peace Frog" and "Roadhouse Blues" are way up there among my favorite Doors' songs. It's hard to pick out a specific song on the "Morrison Hotel" side. I guess the last two are worth a listen. "Indian Summer" is a love song with only two verses and has a great pyschedelic, Indian-sounding guitar. It's the closest song to "The End" I've heard from them. The last song "Maggie M'Gill" has a nice bluesy start and is kind of a jam. It appears to be about Maggie who had a child with a rock star. Autobiographical? I would put both their debut album and "LA Women" ahead of this album. However, it is absolutely an album worth listening to with a few kickin' songs.

"The Score" is the second and final album from Fugees consisting of Wyclef Jean, Lauryn Hill and Pras Michel. The style of this album is referred to as alternative hip-hop (not conforming to gansta, bass, hardcore, party) which became more popular in the late 90's and was a shift from their first album. The music is primarily composed of samples and has a laid-back feel, sometimes almost a reggae feel. Fugees were given complete artistc control which may be one of the reasons for the sound. Each of the group members takes turn rapping and singing. I'd have to say that Lauryn Hill especially stands out. The album has a great feel to it. There were four singles released with three having huge chart succes. Their first single "Fu-Gee-La" samples " Ooo La La La" from Teena Marie and has great vocals from Lauryn Hill. Speaking of great vocals, she absolutely kills it on the cover of Roberta Flack's version of "Killing Me Softly" which also adds a hip-hop beat, samples A Tribe Called Quest and has great gospel-backing vocals. All sorts of legal stuff going on with the orginal writers. Anyway, a huge success and great song. Probably my favorite song for feeling that laidback vibe is "Ready or Not." Great sampling of Enya, the Delfonics and Bob Marley. Great, great soulful singing by Lauryn. The fourth single and last song on the album is their cover of Bob Marley's "Buffalo Soldier." A decent cover...it didn't take to the last song to hear the reggae influence though. This album was one of the biggest albums of 1996 and listening to it today it's clear why with its feel and great singles.

"Little Earthquakes" is the debut album by Tori Amos and had five singles released. I found her back story up to that point very interesting; Tori was a musical child prodigy winning a full scholarship to the Peabody Institute at Age 5, the youngest person ever. But, at age 11 she was kicked out for musical insubordination for her inability to read sheet music while playing. She had a synth-pop band group in the late 80's which didn't last long and eventually broke through with this album after the record company rejected her first version. The album was initially released in the UK since the record company thought the UK reception of an "eccentric peformer" would be better received. The music itself is pretty much exclusively piano based. The lyrics seemed to be very personal and are the strength of the album along with her vocal delivery. "Crucify" starts the album off and sets the tone with her piano and a song about life, religion and society making you feel guilty. Something about growing up in a house with a father as a pastor might have played a part. For me the musical highlight, is "Silent All These Years." The emotion, musical delivery and lyrics still sound pretty stunning. The song that convinced the record company to release the record is her a capella song "Me and a Gun." It was her first single, released in the UK and based on her life experience of being raped. Heavy stuff! With most of (maybe all) these songs based on very personal experiences, it defintely brings a depth to the music. Her piano playing is great too with little other accompaniment. I guess it's always good to see a very talented (or anyone) person struggle and then finally succeed.

"First Band on the Moon" is the third album from Swedish pop band The Cardigans and was their major breakthrough internationally. This is well-crafted and well-produced pop. I would say laid back, happy and even kind of fluffy at times. It's funny there's always a song that comes on after streaming the album that resembles it and in this case it was Blondie's "Heart of Glass." If only! What this album does miss is an edge. Some edge. Maybe, "Heartbreaker," "Losers" or "Step In Me" do have that little bit of edge I seem to be missing. Anyway, it is fine for it tries to do and was very successful. The first single "Lovefool" was a big hit internationally. It does have a very catchy chorus and well-placed music backing and balancing. This song actually prompted me to buy their next album; I think I still have it. The next two singles "Your New Cuckoo" and "Been It" are also good sounding pop songs. They actually do a cover of Black Sabbath's "Iron Man" in a pop, slowed-paced and somewhat soulful style. If it wasn't for lead singer Nina Persson's sexual overtones on saying and singing Iron Man I would put this into one of the worst covers ever. Instead, I put it in the interesting category. As mentioned, this is well-made and well-produced 90's pop. If that's your thing, this is all you.

"Imperial Bedroom" is the 7th album by Elvis Costello and the 6th album with the Attractions. And what a great album this is! It helps that it has my favorite two Elvis Costello songs ("Beyond Belief" and "Almost Blue"). It was produced by Geoff Emerick not Nick Lowe whom Elvis typically have produce. Elvis said this was his happiest album to date. I don't know; the lyrics are utterly brilliant but I don't know if I'd call them happy. The music is pretty happy though and is definitely a variety of styles. In addition, you can find something musically in almost every song making it worth a listen. The first single released was "You Little Fool" at the insistence of the record company due to its happy music. It is fairly happy music with the piano carrying the chorus and a song about a daughter's cry for attention and romantic misery. Not so happy. The album actually starts with "Beyond Belief" a song which slowly build to a musical climax. Great lyrics and imagery about the cycle of pursuing love....just fantastic. "Man Out of Time" is what Elvis said was the heart of the album and kind of autobiographical about a man disgusted with himself. Great well-balanced music too. "Almost Blue" is a sad piano song about two people growing apart. It needs to be heard in a smokey bar (which don't exist anymore). Pitchfork only ranked this at #155 for albums in the 1980's. There are 154 better albums? Anyway, I have heard a lot of Elvis Costello and this definitely near the top.

"Music for the Masses" is the 6th album by Depeche Mode. It was produced by David Bascombe and the album title was meant to be tongue-in-cheek as the band thought the music was anything but for the masses. And, on the surface I would agree with the music dark and the songs about sex, sin and drugs. However, this album (and the previous one "Black Celebration") pretty much taking these guys beyond sort of cult status to playing in front of 60,000 people. The music is eerie, hypnotic and I must say I enjoyed more and more with repeated listens. The songs switch lead singers between David Gahan and Martin Gore with a definite flow to this album. The album contains some of their bigger hits. "Never Let Me Down Again" starts things off with a great dark and hypnotic intro and appears to be about drug use seeking euphoria. Obviously, Gahan at the lead here. "Strange Love", another big song and great intro, adds more of a dance beat. An interesting take on probably sinning (cheating) and keeping a relationship. "Behind the Wheel" adds even more of a dance beat and really sounds like early Depeche Mode to me. I love it when a song has an emotionless feel and is good. This is one of those. Not having a dance beat but creating an eerie, almost Goth feel is "I Want You Now". Martin Gore takes the lead here with Gahan groaning in the back. Lust the theme here. It has been awhile since I listened to this album and I thought it might sound dated, being of its time. I get some of that but it still sounded great and you can see why they became so big.

"Ella Fitzgerald Sings the George and Ira Gershwin Song Book" is a collection 59 songs written and composed by George and Ira Gershwin, sung by Ella Fitzgerald and music performed by the Nelson Riddle Orchestra. It is one of eight albums in the "Ella Fitzgerald Sings the Complete American Songbook" series which was recorded between 1956 and 1964 after Ella signed with Verve Records. The songs were written by the Gershwin Brothers between 1924 and 1937 with Ira changing the lyrics on some of the songs especially for Ella. This is quite the listen. Obviously when named "The Queen of Jazz," you'd expect pretty much perfection and that her vocals are. Since these songs were mostly written for musicals and film scores, they switch between big-band loud sounding, kind of fun and playful, and slow and romantic.The first song with lyrics on the album is "Sam and Delilah" originally from the 1931 musical "Girl Crazy" and sung by Ethel Merman. This song starts out slow and sultry and turns more big band loud sounding. Ella glides us threw with her incredible voice and especially her pacing. She reminded me of Frank Sinatra in the way they both know how to play with the timing and music. "But Not For Me" is also from "Girl Crazy" and is soft and slow-paced with strings. Great vocals and, oh, it won the 1960 Grammy for best female performance. Another great song for showcasing her silky smooth voice is "Oh, Lady Be Good," originally from the Broadway musical of the same name. This album is a lot of music. All of it is worth listening to, showcasing an incredible vocal talent. For some reason, I feel like watching a musical or going to the theater. Well, maybe sometime soon.

"Life Thru a Lens" is the debut album from Robbie Williams following his departure from the boy band Take That. This was really my first time listening to Robbie Williams as he is very big in the UK but not in the US. I was expecting to not like this album at all but I thought was fine for it tries to do and can see why it was very popular. The music definitely fits in the "pop" category; However, I did hear a lot of Britpop influence especially Oasis. The overall production is at a very high level. The songs appear to be grouped into more rockin pop, straight-forward sort of glossy pop and power ballads. The album had five singles released. "Lazy Days," single #2, starts the album off with more rockin' pop; it's enjoyable enough. "Angels" was the fourth single and biggest hit from the album. A power ballad which kind of reminded me of a decent hair metal ballad from the decade before (Good Lord! Was there such a thing?) I think I did hear this song before. "Let Me Entertain" might be my favorite song on the album and kind of reminded me of Elton John. Highly produced and fast paced. If you were a pop fan, I'm sure you've heard this or at least would like this album. It was enjoyable enough for me even if I don't typically listen to pop.

I needed this today. This was fantastic. Fully titled "The Space Ritual Alive in London and Liverpool" is a double live and the fourth album from Hawkwind recorded on the studio album "Doremi Fasol Latido" tour. The album intersperses the core songs with electronic and spoken word pieces to create essentially one continuous piece. The concert was meant to be an audio-visual experience including naked dancers and "entwinning the fantasy of seafarers in suspended animation traveling through time and space with the concept of music of the spheres (movement of celestial bodies as a form of music)." You betcha, I'm on board. And, the music and band are/were classified as "Space Rock." OK. All I know is that this fuckin' rocked. It sounded like punk met heavy metal met jam band (and other stuff). I heard so many future influences - Monster Magnet, Sleep, Mastodon. The band was killer too with none other than Lemmy on bass. The are a lot of songs worth highlighting. It seemed that each of the band members stepped up at different times throughout the album. Most the big songs are between 7 to 13 minutes long. The first song with lyrics "Born to Go" sets the pace with driving music. Drummer Simon King shines and there is a killer guitar solo by Dave Brock. This song has aspects of both punk and heavy metal. "Lord of Light" continues the driving music with Lemmy standing out and interesting sax towards the middle to end which gives it almost a Roxy Music feel. And how can you not mention "Brainstorm" which is just a jam. I'd classified it as like Stoner punk. It defintely starts out like a Motörhead song and continues on for over 13 minutes. Epic! I had listen to Hawkwind before and was expecting a lot having not listened specifically to this album. I got a lot. It is a lot. A big enthusiastic recommendation for anyone who likes Rock.

Ahhh, a big one. "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" is the 5th album from David Bowie and with his backing band named The Spiders from Mars. This album has a "loose" concept developed after the songs were written. I think the concept works pretty well, except maybe for a few songs. The concept is Ziggy Stardust, an androgynous and bisexual rock star, sent to Earth before an impending disaster, wins the hearts of fans but falls from grace, succumbing to his own ego. At the time Bowie was heavily influenced by Iggy Pop, the Velvet Underground, Marc Bolan, Vince Taylor and the Legendary Stardust Cowboy. Given the influences, that is why the music and concept work for me. Now I understand. The music is classified as glam rock or proto-punk but the music on this album pretty much transcends a classification. I hear blues, the sound of future rock and punk, 50's music and other classifications. Stating the obvious, not a bad song. In fact, you could write a paragraph, essay or, heck, a book on each song: Bowie's influences, how the song pertains to the concept, the music and on. "Five Years" starts the album slow and just builds the momentum which cathartic vocals ending the song. Earth is revealed to have five years left and Ziggy, the savior, is sort of introduced. Well, Ziggy is firmly introduced in the third song "Moonage Daydream" and he's an alligator, a mama-poppa, space invader, rock n' rollin bitch. Great guitar intro, piano chorus, climatic guitar ending and the best use of a pennywhistle in a rock song. "Starman" was the first single and just a beautiful song with Ziggy bring a message of hope. And, now we have maybe the best guitar riff in rock history in "Ziggy Stardust." Just brilliant. This is the heart of the album's concept with Ziggy rising to fame but his ego loses him his fans and band. I don't know what happen to the Earth but Ziggy eventually dies in the final song "Rock 'n' Roll Suicide." I feel like I'm just getting started....each song deserves a mention. This album is a stone cold classic and definitely up there among Bowie's best. Impossible for me to pick his best. A smart move that Bowie made was that Ziggy was short-lived, transitioning to Alladin Sane the following year. Not enough time for a Ziggy burnout.

The randomizer did not give me a lot of time between Elvis Costello albums. That's fine with me. "Armed Forces" is the third album from Elvis Costello and his second with The Attractions. It found Elvis moving in a more pop direction relative to his first two which were more punk focused. Produced by Nick Lowe. I would say the music is fairly more complex for pop with great layers of keyboards and an outstanding rhthym section. Influences were and appear to be David Bowie, the Beatles, Beach Boys and 60's pop in general. There's also a dance and funk element. The song themes are politics and relationships. And just some wonderful lyrical interplay between the two in some of the relationship songs. The political theme focuses on the armed forces and bigger companies taking advantage of the underprivileged. The original title was called "Emotional Facism." The title change was probably a good move. The album starts with "Accidents Will Happen," the second single, and a more pop-oriented song with great keyboards and styled after The Left Banke's "Walk Away Renee." Based on a relationship Elvis had with a taxi driver in Tucson. The first single was the politically charged "Oliver's Army" with a piano intro and great drumming. It's about the army taking advantage of disadvantaged young people in Northern Ireland and Oliver is Oliver Cromwell. Some other great politically-themed songs are "Senior Service," "Green Short" and "Goon Squad." "Moods for Moderns" has always been a favorite of mine with again great keyboards and a dance groove. The narrator is defintely bitter towards his ex-girlfriend. A special mention goes to his Nick Lowe cover "What's So Funny (About Peace, Love and Understanding). It was not included on the initial UK release but appeared on the US edition and reissues. A concert highlight in the couple of times I've seen him. This is a fantastic album and one of Elivs' best for sure.

"Different Class" is the fifth studio album from Pulp. It was released in 1995 pretty much at the height of Britpop. I know people may disagree with me but I think this is the best album of that genre. The title refers to a club night at Eve's Club and also to the British social class system. A double meaning, I like it. This is very polished and well-produced music. In a lot of songs, the music tends to build as the songs progresses. Their lead singer, Jarvis Cocker, has a great emotional delivery; he sings, he whispers, he screams. The lyrical themes are social class and relationships often intertwining the two. The first song on the album is "Mis-Shapes" which starts things off with spiraling keyboards and piano. The song is an ode to outcasts who were targets at clubs. The song was the second single released and was coupled as a double-single with "Sorted for E's & Wizz" which is sort of a happy-poppy-sounding song about the artificial nature of the drug culture. The first single and their most popular song is "Common People." This is a tremendous song which builds as the song progresses. A great keyboard (I think) intro and catchy chorus (both keyboards and vocals). About a rich girl wanting to live like common people and narrator saying that could never completely happen. Initially, I thought was listening to Laura Branigan's "Gloria" in their third single "Disco 2000," a very polished song with great keyboards and guitar. I know I'm repeating myself in some of these album reviews but not a bad song here (Well, they should be since they are supposedly the best albums). A album in the height of Britpop and may be the best one. By the way, I never heard of this album up until probably 10 to 15 years ago. Not big in the States in the 90's and never made it to my ears. Probably, since it was also released at the height of grunge.

"Duck Rock" is an album from impresario (love that word) Malcolm McLaren. He is credited as a singer and figure caller though. This album mixes styles from South Africa, South and Central America, the Caribbean and the US (hip hop, country). The musicians included Trevor Horn (beats, mixing), Anne Dudley (keyboards, strings), J.J. Jeczalik (synthesizers) and Thomas Dolby (keyboards). Horn, Dudley and Jeczalik were recording The Art of Noises' first album "Into Battle with the "Art of Noise" at the time in a side studio and you hear a lot of what I would call Art of Noice music throughout. Also, The World's Famous Supreme Team, rappers/DJ's Sedivine the Mastermind and Just Allah the Superstar, contribute in songs and between songs. Somehow uncredited but just as important is the South African group Mahlathini and the Mahotella Queens. The songs they are involved in are some of the best on the album. This album was very influential in world music and hip hop. It is a great album, tons of fun. Every song changes style to some extent but flows throughout very nicely. The first single and biggest song on the album is "Buffalo Gals" which has rapping, scratching, back-up female singers and a rapper calling a square dance. Sampled and influential in the future to/by Neneh Cherry and Eminem. "Double Dutch, the third single, has South African beats, Malcolm McLaren doing the singing/calling and Mahlathini and the Mahotella Queens supplying the back-up singing. This song would not sound out of place on Paul Simon's "Graceland." Speaking of Mahlathini and the Mahotella Queens, they take the lead on the second single and my favorite song on the album, "Soweto." This is a very happy-sounding song. It is South African in style but I thought I heard a Caribbean vibe. Just an incredible chorus going by the Mahotella Queens. And how can I not mention the last single, "Duck for the Oyster," in which McLaren is calling a square dance and it sounds like it belongs on a chipmunks album. This is a totally ridiculous song yet I loved it. Do-si-do anyone? This was a blast. I had no idea what I was in for. The hip hop, world music and country-tinged music all combined perfectly fine.

"A Night at the Opera" is the fourth studio album from Queen. It was also the most expensive album recorded at the time. Queen was in a desperate position as they were broke from their previous three albums from mismanagement by their management company which they subsequently dropped eventually signing with EMI Records. They recorded using 24 tracks with a wide range of styles including ballads, music hall, dixieland, hard rock, progressive rock, jazz and opera. On previous listens, besides the big hits, I thought the album was "too" all over the place. On repeated listens today, I came to better appreciate the sheer attempt to achieve something grander and larger and the change in styles. Lyrical themes ranged from science fiction, fantasy, heartbreak and romance. All four members wrote songs that made the album. Musically, the highlights are the vocal harmonization and Brian May's guitar. The album starts out with "Death on Two Legs ( Dedicated to...) with its classical intro progressing into some classic 70's style guitar. The song is about their former management company, Trident, and specifically their owner, Norman Sheffield. The second single and one of my favorite Queen songs is "You're My Best Friend " with its Wurlitzer electric piano intro. It was written by bass player John Deacon for his wife, Veronica. Ahhhh! " The Prophet Song" is Queen's longest song at 8 minutes. It is quite the journey more in the progressive rock style with May's guitar, delayed vocal tapes and harmonization and a fantasy about the great flood. I can see some detractors on this song. And the we have "Bohemian Rhapsody" combining the intro to a ballad to an operatic section to a rock song. The song was actually a combination of three songs. The band has remained very secretive about its meaning only admitting the content was personal to Freddie Mercury. This is quite the musically ambitious album which catapulted Queen into superstardom. The album connected with me today more than before. It's been awhile since I've watched "Wayne's World." Maybe today is the day.

"Tubular Bells" is the debut album from then19-year-old Mike Oldfield who played almost all the instruments of this mostly instrumental album. This music is classified as progressive rock but in today's world would be called ambient, new age or probably even experimental. The instruments used were a series of guitars, keyboards, percussion and of course tubular bells which were played with a claw hammer. The bells eventually cracked. Oldfield used overdubs which were unusual at that time and recorded on a 16-track recorder. This album did not do well upon its initial release but the the first part of the first song was used in "The Exorcist" and oh, you know that music with that creepy piano/keyboard. Well, after that, this album spent over a year in the UK top ten and hit No. 1 and hit No. 3 on the US Billboard chart. This album was also the first album on Virgin Records. The album contains two songs , one on each side. Side 1 "Tubular Bells, Part One" was recorded in one week at The Manor in the village of Shipton-on-Cherwell north of Oxford, England. The song starts out with that creepy "Exorcist" part, about six minutes in comes a very 70's progressive-sounding guitar, at 13 minutes a hockey-tonk piano, more heavy guitar at 14 minutes and finishes off with a guy, Vivian Stanshall, introducing each of the instruments which are then played. Side 2, "Tubular Bells, Part Two" continues the trend of a song with multiple parts and more layered guitar. This side sounds more of the experimental and ambient style of music. The most interesting thing on this side is the recording of an extremely drunk Oldfield screaming which was recorded at high speed and it sounds like a stuttering, stammering, low-putch drunk. Welcome to my Saturday Nights. The vocal is listed as "Piltdown Man." LOL. "Piltdown Man" was a paleoanthropological fossil fraud of an early human. Who came up with that? Side 2 was recorded over three months at The Manor due to limited availability. This album is quite the achievement for a 19-year old and, of course nowadays, Mike Oldfield is considered one of the great musicians of all time. I guess you can't really argue with that since this had to be one of the first ambient and/or new age style albums or at least a huge influence in those genres. And if you're into those genres this is the album for you but I'm sure you're already familiar with it. I have to be honest, I appreciate some of the ambient music out there today...much more than I used to. New Age has eluded me except for select cases and artists. I did like this album for its originality and technicality. It held my interest.

The randomizer seems to be telling me to listen to more Stevie Wonder as this is my third Stevie album. That is a good thing. "Talking Book" is the 15th studio album for Stevie Wonder and along with the previous album " Music of My Mind" starts his so-called Wonder classic period. He was given more freedom from Motown and Barry Gordy and this period transitioned him from youthful prodigy to an independent and expert artist. The politics of the time and recent work by Isaac Hayes, Sly Stone and Marvin Gaye were also influences. Speaking of other musicians, this album has appearances by Jeff Beck, Ray Parker Jr., David Sanborn and Buzz Feiten. One of the highlights of the Stevie Wonder albums I have listened to is the mixture of ballads, softer-jazzy songs, pop songs and funk. This album has all that. Another highlight is his use of the T.O.N.T.O synthesizer which was able to create the sound of multiple instruments. The flow of the album seems to be from a happy relationship to looking for another love as he was or was soon to be divorced. But, there are some more political and non-relationship-based songs in the middle. This album has three of my more favorite Stevie songs. The album starts with the happy love song "You are the Sunshine of My Life." Great backing vocals and congos. Stevie wrote with Jeff Beck "Superstition" while Stevie was playing keyboards and Jeff Beck drums. Just about as bad-ass a funky groove ever.....ever. Stevie's use of the Clarinet Model C. Trumpet and tenor sax come in. Describing popular superstitions and their negative effect. And the album ends on a positive relationship note with "I Believe (When I Fall in Love It Will Be Forever). Just a tremendous and uplifting song with a fantastic chorus. Jeff Beck and Buzz Feiten are on guitars and Stevie's kicking it on the drums. I give up trying to pick among this album, "Innervisions" and "Songs In The Key Of Life" as to his best. They're all worth listening to and owning. I believe I have one more Stevie Wonder album in "Fulfillingness' First Finale" in this album challenge. I'm pretty sure I'll like that quite a bit to (I have listen to it but it's been awhile).

"Truth" is the debut studio album from Jeff Beck after leaving The Yardbirds. It introduced his band The Jeff Beck Group which included Rod Stewart on vocals and Ronnie Wood on bass. The artist listed on Beck's next few albums would be the Jeff Beck Group. The album has ten songs, seven of which are cover songs from the likes of Wiilie Dixon, Muddy Waters, The Yardbirds, Jerome Kern, an old English folk song and Bonnie Dobson and three of which are originals based on reworks of songs by Buddy Guy and BB King. This is a different mixture of songs with styles of blues, hard rock and some pyschedelic. Some also cite this as a major influence on heavy metal. I can definitely see that especially with the instrumental "Bolero" which included Jimmy Page. This is a very formidable band; Beck's guitar and Rod Stewart voice are outstanding for this style of music. Each of these songs was a unique listen. My song highlights included "Morning Dew" which is a cover of the folk song written by Bonnie Dobson with great vocals by Stewart and that wah-wah Jeff Beck guitar. It really showcases the intensity of the band. "You Shook Me" is a cover of the Wille Dixon-Muddy Waters song and a good example of taking a blues song and giving it a hard rock/metal edge. Some pyschedelia here too. "Rock My Plimsoul" is another great example of reworking a song to give it a harder edge. "I Ain't Superstitous" ends the album in a more traditional blues sound. Also, great Beck improvisation on his solos and use of the wah-wah guitar sound again. This album showcases Beck's incredible guitar playing and some of Rod Stewart's best vocal work. I'll need to dig a little more into Jeff Beck's later work. I've just done it kind of cursory. Jeff Beck had a more pyschdelic style on his last album with The Yardbirds "Roger the Engineer" and is moving heavier and harder with "Truth". Both "Truth" and "Roger the Engineer" are worthy to listen to and own and are obviously deserving to be in the 1,001.

Naw, I wasn't about to use that lame US album cover. This cover is much more interesting. "Country Life" is Roxy Music's fourth album and is named after the glossy British magazine with the same name. This album is regarded by some as their most diverse with styles in funk, country, blues, psychedelic, medieval and some of chanting in German. I definitely appreciated all those styles as it made for a great album. Although, I will say that you know it is Roxy Music in every song with their distinct sound. That was never totally lost. The original album cover of German models, Constance Karoli and Eveline Grunwald, was censored in some countries including the US and Spain with a different cover put in its place. Lyrically a lot of songs are about women or relationships but not all. Bryan Ferry seems to at times compare music to women or at least leave that intrepretation open. "The Thrill of It All" starts off the album and was the first single. The song is fast paced with the band thrusting forward. Great drama with the big sound of Roxy Music. "Out of The Blue" is one of my favorite Roxy Music songs. It starts slowly and softly and quickly ignites as the band kicks in. Great drumming and bass. And a spiraling, psychedelic ending highlighted by Phil Manzanera's guitar. "Casanova" amps up the funk for the group and is one of their more unique songs. Actually, this whole second side is unique with songs about the crucifixion of Jesus, the state of Texas and that song with the German chanting. This is my second Roxy Music album to come up in the 1,001 along with their debut. I would give the slight edge to the debut for its more experimental nature. But, "Country Life" is an outstanding album and a great listen.

"Red Headed Stranger" is the 15th album from outlaw country artist Willie Nelson. And outlaw is right as this is a western concept album about a guy who sees his wife cheating on him, comes home to find her gone, hunts both his wife and her lover down, kills them and, for the remainder of the album, tries to find redemption. Sounds interesting and this was, very much exceeding my expectations. This is a very sparse recording with really the only main instruments being guitar, piano, harmonica, bass and drums. Willie had recently signed with Columbia and had been given complete control which allowed this album to be released it was as opposed to the more popular Nashville Sound which had a lot of orchestration. The album concept was inspired by "The Tale of the Red Headed Stranger," a song Willie used to play as DJ in Fort Worth. Given the sparse instrumental arrangement, the strength of the album is Willie's storytelling and voice. The slower pace is also necessary and perfect. The album is really divided into two sides. The first side pretty much tells the whole story concept with the second side being his redemption and finding love again. There are also a few cover songs loosely fitting within concept. "Time of the Preacher" starts things off with the narrator finding his wife cheating on him. Probably the climax of the story is the fourth song "Blue Rock Mountain/Red Headed Stranger" where the narrator finds his wife and her lover in a bar and shoots them. One of the song highlights is "Blue Eyes Crying in the Rain" which is a cover song by Fred Rose/ Hank Williams. It loosely fits in the concept I guess and is just a great country song. Another great cover song on the second side is "Can I Sleep in Your Arms." It's a more traditional country song with guitar, piano and harmonica solos. I am admittedly not the biggest of country music fans with really the majority of which i like being the traditional storytelling songs of the 50's, 60's and 70's. This album fits that and has to be one of the better ones.

"The Contino Sessions" is the second album from the English electronic music group Death in Vegas led by Richard Fearless. Good last name since, I think, this album is trying create an atmosphere of fear, mostly, or at least darkness. But, not all the time which is where I had problems with what they were trying to do overall. There are some good songs here though and for the most part, it is at least interesting. I guess this fits in the electronic music category but there are some more straight-forward rock moments. Each song is almost it's own thing. I heard all sorts of influences: The Chemical Brothers, Primal Scream, Air, Suicide, 80's and 90's Ministry and sort of Britpop. Big time guest appearances by Iggy Pop and Jim Reid of Jesus and the Mary Chain. Some of these songs have a dance beat, almost an anti-drum beat, droning keyboards, droning guitar and basic rock. The album starts out with "Dirge" which is definitely in the electronic category with its spacey and dreamy guitar and keyboards, a slow drum beat, and weird background noises. The second single and for me, the best song is "Aisha" with Iggy Pop talking of murder and blood. It has a dance beat, a cool guitar and it grooves. They could have built a whole album based on this. The last song and first single is "Neptune." It is mostly electronic and has a happy vibe with its keyboard melody and uplifting ending. I found this album interesting. Not saying I'm going out and buying it right now. It does sound of its time in the late 90's. Fans of experimental electronic music may find this quite good.

Simply titled "The Velvet Underground" is The Velvet Underground's third album with Doug Yule replacing John Cale on bass and other instruments. It was a change from their previous more experimental album "White Light/White Heat" with more ballads and straight-forward rock songs. It has been described as folk rock. The songs are more about relationships and religion. I would say the album is generally not a negative one but it sure starts and ends with lyrical downers. "Candy Says" opens up the album softly with Doung Yule on vocals. His sort of quivering voice tells the story of Candy ,a transgender person, who works at Warhol's Factory, hates her body and just wants "to be set free." We'd meet her again in Reed's "Walk on the Wild Side." The second song "What Goes On" is more straight-forward rock with multiple guitar tracks and great organ. Another great rock tune on the second side is "Beginning to See the Light." "Pale Blue Eyes" is way up there with my favorite VU songs. It is soft with only a guitar and tambourine and haunting lyrics about what appears to be an affair. The album ends with "After Hours" and drummer Maureen Tucker on vocals. It is a happy-sounding song but the lyrics describe wanting to have fun but closing the door so the night can last forever. Oh, the dichotomy. I don't know where this ranks for me in VU albums. They're all worth listening to and owning. This one does have two of favorite songs in "Pale Ble Eyes" and " What Goes On."

"Sweet Baby James" is the second studio album for James Taylor. James was essentially homeless at the time of the recording and this album made him one of the biggest singer-songwriters at the time. Descriptors are folk, soft rock, country and soft rock. You hear all that at different times. I guess I knew what I was in for, somewhat. This is very listenable and good even if it's not exactly my main style of music. Although, I'm not sure what my main style style of music is nowadays. It probably hits the spot with all the other styles of music I heard at Lollapalooza. I sure didn't come across a folk singer or a James Taylor there. The album starts with "Sweet Baby James and sets the tone with a folk song about a cowboy. "Steamroller" is more blues-focused with horns and is one of my favorite songs on the album. The first single "Fire and Rain" starts side two. Great lyrics and is the one song I think of when James Taylor is mentioned. I love the sadly beautiful piano matching the lyrics perfectly. The second and final single "Anywhere Like Heaven" continues the folk-style and the guitar gives this more of a country feel. The album ends with a more rockin' song "Suite for 20 G." A song he needed to finish for the album and is one of the best on the album with a great guitar jam and horns. I enjoyed listening to this album. It is solidly produced and musically executed. It is easy to see why it was successful. I enjoyed the more bluesy songs which I didn't expect. His voice fits perfectly.

"A Girl Called Dusty" is the debut album from English singer Dusty Springfield. Dusty had been a member of The Springfields in the early 60's, toured the US and became exposed and influenced by Motown. Her music and style are described as blue-eyed soul and pop; she also sings ballads. I hear all those on this album including some doo-wop (probably pop at that time). I found this album very interesting in that it constantly switched styles seemingly between songs. Obviously, Dusty has a great and emotional voice. At times she reminded me of Amy Winehouse and other times more of a Motown singer. This album was her first collaboration with song writers Burt Bacharach, Hal David, Gerry Goffin and Carole King. The album starts with a cover of the Shirelles' "Mama Said" written by Luther Dixon and Wille Denson. More in the doo-wop style but Dusty also gives it that blue-eyed soul feel. "My Colouring Book" has more of a orchestral and grandeur tone. A song written by Fed Ebb and John Kander and performed by Sandy Stewart in 1962. You really start to hear Dusty's versatility here. The second side begins with "Twenty Four Hours From Tulsa" and kind of combines a lush orchestral background with doo-wop. A very 50's-sounding song and showcases her great vocals. My favorite song on the album is the Burt Bacharach and Hal David song "Wishin' and Hopin'.'" Just a great pop song with horns, great backing vocals and of course, Dusty nailing it. I have listened to later 60's Dusty. This was my first time for her earlier songs. I really enjoyed the variety of styles and can see why it made this 1001 list.

"Young Americans" is the ninth studio album by David Bowie and was a transition to more soul and R&B from glam rock. It was called "blue-eyed soul" or as Bowie put it "plastic soul." The album was recorded at the end of "The Diamond Dog's" tour in both Philadelphia and NYC. Bowie recruited musicians and singers with two of the more prominent ones being Luther Vandross and guitarist Carlis Alomar. It also brought back producer Tony Viscoti who last worked with Bowie on "The Man Who Sold the World." The album got and still gets mixed critical reviews. "Young Americans" starts the album with horns and prominent background singers giving it definitely a soulful feel. The lyrics are great tongue-in-cheek with trying to attain the great American dream - Ford Mustangs and a Barbie doll and all you get is a divorce and alimony. "Win" has more of a soulful, jazzy and smooth feel, something Bowie would fully realize on "Blackstar." This sounds like an early 80's Prince song. "Fascination" takes it in a funky direction influenced by a Luther Vandross song "'Funky Music (Is a Part of Me)." Horns, the funky keyboards, background singers, Bowie's vocals: this is where the "plastic soul" totally works. "Right" starts off taking a middle ground between the last two songs with respect to funk and jazz. The song really starts to work the longer the listen and really gets the groove going. My favorite song on the first side. "Somebody Up There Likes Me" begins the second side with strong sax by David Sanborn. The song has a darker tone with lyrics appearing to be about fame and its repercussions. Bowie really goes all out with soulfully-stressed vocals. I am not sure Bowie added anything to the Beatles' cover of "Across the Universe." Although, John Lennon is in the backing vocals. The extended jam ending the song...Why? "Take It In Right" Is a song Bowie had written for Lulu and then recorded it as "Can You Hear Me?" after she failed to use it. Great strings, background vocals and sounds like a late 70's R&B pop single. The album ends with "Fame" and a great guitar riff by Carlos Alomar; this is where Bowie and Visconti really succeed with that funky groove and production. Apparently, contributions from John Lennon as well. This ends the album with the same way it started and the disillusion of fame and success. I don't know where I'd rank this album in the Bowie catalog. It's highs are great with "Fame," "Fascination" and "Young Amercians" and pretty low to me with that Beatles' cover. This is one of those albums I'd have to give more listens and time for a final assessment. Hats off to him for going after that soulful and R&B album which mostly succeeds. And with most Bowie, at the very least, it's an interesting listen!

"Crocodiles" is the debut album from Echo and the Bunnymen with two songs, "Pictures on My Wall" and "Rescue," on the album previously released as singles. This is quite an album. The music is described as post-punk and neo-psychdelic with imagery of darkness and sorrowfullness. Yes, that's all there. To me, the sound is sort of similar to Joy Division's "Closer" and Gang of Four. The band includes Ian McCulloch (singer), Will Sergeant (guitars), Les Pattinson (bass) and drummer Pete de Freitas whom they added after they signed to a label and were encouraged to add a drummer. One of the first things you notice is how prominent each of the band members are. They all make major to contributions to the songs and album as a whole. McCulloch's lyrics are dark and appear very personal. Given the imagery and personal nature leaves a lot of these songs open for interpretation. The lyrics and music match perfectly creating a great dark and somewhat haunting mood. "Going up" starts the album with Pink Floyd type echoes. Check neo-pyschedelic. It builds with a solid rhythm section and sort of a slash-like guitar. "Do It Clean" has great drumming and absolutely great guitar in the middle. I have no idea what this is about, cleaning your room, doing cocaine??? My favorite song on the album is "Monkeys" with just a great guitar intro and chorus. The bass and drums create a great atmosphere. It sounds like the bass is carrying the melody. My guess it's about a change needed in a relationship. The second side starts with their second single "Rescue" and probably their most recognized song on this album. Another great guitar intro going into the melody. Tremendous catchy vocal chorus. Definitely one of their best pop-type songs. The first single was "The Pictures on My Wall" and appears to have a more keyboard-focused chorus. More echoes. Neo-pyschedelia checked twice. The music is a great match for the lyrics which express a state of despair and paranoia. Joy Division and Roxy Music typically get a lot accolades for the best-ever debut albums and rightfully so. But, this is also just a great debut, worthy of a listen and being on this list. They would also have a few other outstanding albums later on in the decade.

"More Songs About Buildings and Food" is the Talking Heads' second studio album and the first of three collaborated with Brian Eno. The music is more rhythm and dance driven with quirky, jangly guitars and Eno's keyboards overlaying. Tina Weymouth (bass) and Chris Frantz (drums) really come to the forefront and in a lot of these songs. David Byrne's lyrics are sometimes about relationships, other times not. When they are, it is usually in a weird and original context. This is a fantastic album. The album cover is a photomosaic using 539 close-up Polaroids. Another interesting fact: the song title comes from a title suggestion for their first album of "Songs About Buildings and Food." They just added the More. The rollicking "Thanks You for Sending Me an Angel" begins the album with drums kicking in. Percussions would be added later. Somewhat chaotic/frenetic guitar comes in. It appears to have somewhat non-sensical lyrics...about parenting a baby? The song was a definite highlight of "Stop Making Sense." The first side continues the fast rhythmic pace and ends with another "Stop Making Sense" standout "Found a Job." Here's where Weymouth and Frantz really lay the funk. Weird and interesting keyboards. Some more original lyrics about making a relationship more interesting than what the couple sees on TV. One of my favorite Talking Heads songs. Side two continues the pace but ends on two slower-paced songs. Tina Weymouth lays a great bass line on the Al Green cover "Take Me to the River." Great vocals by Byrne and a somewhat surprising US top 40 hit. Slide guitar highlights "The Big Country." Does David want to live between NYC and LA or doesn't he or is he poking fun at coastal elitists? A lot of days " More Songs About Buildings and Food" is my favorite Talking Heads album which is saying a lot since they have a few outstanding ones. Obviously, an album highly, highly recommended for a listen.

"Celebrity Skin" is the third and final album before Hole's 2002 dissolution. It was produced by Michael Beinhorn and purposefully a move away from grunge and noise to a more rock-pop. And, to me, is one of the best albums in that rock-pop category: great melodies and choruses throughout. The band was struggling writing and recording; hey brought in Billy Corgan to help with the arrangements. Courtney Love wrote all the lyrics which supposedly used California as the American dream as a theme. The Go-Go's Charlotte Caffey and Blinker the Star's Jordan Zardorozny also were contributors. The album went on to be Hole's biggest commercial succes. The title was named after a T.S. Elliot poem "The Wasteland." The album starts off rockin with their first single "Celebrity Skin" and a rippin' guitar intro. Great guitar melodies throughout. About fame and fickleness (autobiographical?). References from Dante Rossetti and Shakespeare too. "Awful" continues the great song run in a more pop way. Great melodies as well and a rockin' edge. A Neil Diamond reference! The song is about music's treatment of girls and has a killer line "If the world is wrong, yeah, you can take it with one song." Their second single "Malibu" continues continues the great melodies and lyrics about getting away from someone (Cobain?) and escaping to Malibu. The second half of the album does not dip in quality either. "Boys On the Radio" starts with an acoustic guitar intro and kicks into classic rock-pop. The song was supposedly initiated by Courtney's reaction to the drowning of Jeff Buckley and is about self-destructive pop stars specifically Evan Dando and Brian Wilson. Maybe my favorite song on the album and its most rockin' (third time used) is "Playing Your Song." It's most likely about Kurt Cobain and selling out. Courtney tears it up with screaming and searing vocals. I love the first side of Hole's previous album "Live Through This" but then I think it takes a slight dip. "Celebrity Skin" does not take a dip and is my favorite Hole album. It accomplishes exactly what they tried to do and is one of the best albums of the late 90's.

"Third" is the third studio album and first in 11 years from Bristol UK band Portishead. This is quite the intense listen. It was a move away from trip hop on their previous albums and influenced and incorporating Krautrock rhythms, breakbeats, cathedral, Morrocan drums, soft rock, doo wop and science fiction/horror soundtracks. I can attest to that; there is so much going on throughout this album. In a nutshell, it's experimental electronic music. The one constant is Beth Gibbons' vocals giving each song a mysterious feel along with the music. And, Portishead is Beth Gibbons, Geoff Barrow and Adrian Utley. Each band member seems to play every instrument at some point: various keyboards, dums and pecussion, bass, guitars and more. The album start with "Silence" and a Potuguese vocal sample and foreboding keyboards. Some sort of drum loop going on. Maybe about the Golden Rule. "The Rip" was the second single and begins with a weird acoustic guitar. The vocals are haunting and seem to be about a broken relationship. The music transitions with synthesizers coming upfront sounding like the "Stranger Things" intro music. The albums' second half has two more of their released singles. "Machine Gun" was the lead single and starts with a mechanical rhythm, definitely sounding like a machine gun, which eventually gives way and builds with synthesizers and keyboards. It has cryptic lyrics and appears to be another one about a broken relationship. Their last single " Magic Doors" has a weird drum beat beginning and background synthesizers which eventually come to the forefront. Beth Gibbons' vocals dominate the song and again have a mysterious, cryptic meaning...sexual orientation? depression? Every song is unique on this album; I think I could listen to this 20 times and find something different each time with everything going on. I found this album fantastic and recommend it to anyone willing to take a deep dive into experimental electronic music.

"Your Arsenal" is the third studio album from Morrissey and features a new band. The album was produced by Mitch Ronson (former David Bowie guitarist) and you can tell with influences and homages to David Bowie, T. Rex and even The Smiths. The music is more rockin' than his two previous albums which is obvious on his first few songs. Of course, Morrissey, during this time, was involved in controversy with accusations of Nazi racism with one of the songs, "The National Front Disco," wishing a variety of deaths (to The Smiths' biographer Johnny Roman's and wishing a motorway pileup) and performed wearing the Union Jack Flag with a back drop of two skin-head girls. Regardless, the music on this album is great: rockin, tuneful, lyrics, a band. And, the title "Your Arsenal" has a possible triple entendre: the power you command, pun on on 'your arse an' all,' and a jab at the Arsenal football team fandom. The album starts out with two hard rocking songs. Great wah-wah wobbly guitar reminiscent of Guns N' Roses begins "Your Gonna Need Someone on Your Side." A "Peter Gunn" rockabilly bass comes in and now the music sounds like X (the band)...that's a good thing. Morrissey's lyrics are probably about offering a friend help who doesn't want it. The second single "Glamorous Girl" continues the muscular rock with great guitar in the intro and throughout. Moz first sung about the queen being dead years before and now it's London. He is apparently angry with his home country. The second half of the album continues the barrage of good songs. The first single "We Hate It When Our Friends Become Successful" again has a great guitar intro (pattern here?) And just a killer melody and chorus. It's more in the pop-rock category and has sort of soft-loud-soft dynamics which I'm a sucker for. Self-explanatory lyrics. "Tomorrow" ends the album and is one of my favorite Morrissey tunes. Another great pop song melody. A classic Smith's sounding song. Is it about not wanting to leave the morning after spending the night with someone, just getting old or both? I have to admit this is the first Morrissey album I've listen to in its entirety. I have no idea why? I've listened to all The Smiths' albums and have heard most of these songs. Anyway, it's a great album and in the conversation for some of his best work.

"A Hard Day's Night" is the third studio album from The Beatles and the first album with all Lennon/McCartney originals. The writing and recording of the album coincided with the filming of their movie with the same name. Side one contains all songs written for and from the movie and were recorded before the filming. To complete an album, additional songs were recorded both before and after the filming. As for the music, yeah, they're all pop classics. "Sputnikmusic"'s Dave Donnelly said it best and I have nothing to add: "short, peppy, pop songs characterized by layered vocals, immediate choruses and understated instrumentation." The US version is different with songs from the George Martin's film score. I admit I would need a diagram of all the US and UK early Beatle album differences. This is the first album with George Harrison using a 12-string Rickenbacker guitar which had great influences on bands like the Byrds. Also, of note, no songs sung by Ringo and no Harrison written songs. Oh, Ringo is credited with the album'/film title with a comment he made during filming. Fun fact. Hard to critique classics and side one starts out with three bona-fide classics: "A Hard Day's Night" with Harrison's guitar starting note. Here's your short, peppy, pop. Oh, McCartney on the cowbell. "I Should Have Known Better" has that great harmonica start and those harmonies. Speaking of harmonies, the third song "If I Fell" has plenty of them and is a ballad of sorts. And, the first side ends with the first single and McCartney song and composed "Can't Buy Me Love." What I can say? Although not as hit-packed, the second side continues the great pop songs. Two favorites for me are the McCartney "Things We Said Today" with his lead singing and the harmonies and Lennon's "You Can't Do That" - I'm a sucker for cowbell. This album is an obvious classic and I admit it's the first time for me listening to it from start to finish. I've listened to their albums starting with "Rubber Soul" multiple, multiple times. Not so much their very early stuff. Well, that's changing.

This hit the spot. I needed some early 70's heavy metal on this Friday. "Machine Head" is the sixth studio album from Deep Purple. The band wanted a different recording environment since they felt they had been unable to capture their live performance sound up to then in the studio. So, they rented The Rolling Mobile Studio and were taking it to the Monteaux Casino after it closed for the winter season. However, at the last concert for the season, a Frank Zappa one at that, the casino burnt down. The band actually watched from nearby, saw it up in flames with smoke pouring off and across Lake Geneva. And, this was the inspiration and story to their most popular song "Smoke on the Water." They finally ended up recording at The Grand Hotel in Switzerland with a bunch of sound-insulating mattresses and inconveniences which irritated the band. Nonetheless, they recorded a great album. This is put in the hard rock/heavy metal category and is considered one of early heavy metal albums. I also caught a jam band-type style in a few of the songs. The first side starts ablazin' with the driving "Highway Star." One of the great opening songs ever. Great Ritchie Blackmore guitar and guitar solo. Great organ too. Fast Car, hot girl...Let's Rock! The first side ends with another driving song "Pictures of Home." Apparently, it's about the band missing home during the recording. Guitar, bass, organ and drum solos. Check. The second side begins begins with their first single "Never Before" which was released first since it was thought to be their most commercial song. A decent song although my least favorite on the album. It sounds like a pretty standard rock song for the time. And then we come to "Smoke on the Water" with probably one of the most recognized guitar intros and riffs in rock history. I always loved the drumming too. The album ends with my two favorite songs on the album and both to me have a jam-band feel. Heavy metal jam band if that's a possible category. "Lazy" was their second single and has a bluesy feel with the organ and guitar. Great guitar intro. The album ends with the science fiction-themed "Space Truckin.'" This song just grooves and, yes my head was bobbin.' This album pretty much sizzles from start to finish. It has very straight-forward lyrics which I appeciated. A classic in its precursor to heavy metal category and rightfully in the 1,001 list.

"Channel Orange" is the debut studio album from Frank Ocean following up his previous year's mixtape album "Nostalgia, Ultra." Frank wanted a song structure change as he didn't wanted to solely rely on mixtapes. He primarily co-wrote and co-produced with Malay but also had collaborations with Om'Mas Keith, Pharrell Williams and Tyler the Creator. Quite the company. That probably also partially explains the vaiety of styles. The music was noted as unconventional for R&B drawing electronic, funk, pop-soul, jazz, pyschedelic, film dialogue and ambient. All those styles are heard. The themes, and this is important for the flow of the album, are unrequited love, decadence, class and drugs. There is an order to the songs as they are pretty much grouped into the thematic categories listed above. The songs within each category are connected with interludes including spoken word or everyday sounds or sometimes go from song to song. This is quite a big but rewarding listen. A lot of times, the story is told in narrative style from different points of view and it's obvious a lot is taken from Frank's personal experience (or is it). The album begins with an interlude of noises including video games and doors opening into the first of the five singles released, "Thinkin' About You." Electronic, funk, a ballad, a slow atmospheric drumbeat, soulful singing. This reminds right away of Stevie Wonder which is heard frequently throughout the album. Frank goes from his tenor to a falsetto and back, another technique heard throughout. The song was originally written for Bridget Kelly and was about Frank's admitted first attraction and love to a 19-year old man. "Sweet Life," is the third single and in the area of the album whose theme is mostly about class and in particular about living and wasting your time on the beach in Southern California. Great keyboards, soul, jazz. No doubt it's influenced by his collaborator Pharrell Williams. The ghost of Stevie Wonder is heard again. "Super Rich Kids," the fifth single continues the class theme with young, wealthy characters and fake lives. Earl Sweatshirts contributes in this more soulful song. The second half of the album starts a more drug-themed focus. The nearly 10-minute epic and second single single "Pyramids" uses the imagery of Cleopatra, pyramids and strip clubs for a love story of a pimp and one of his lovers. Great, great production and maybe the centerpiece of the album. More dance and EDM sounding. Pyschedelic, soulful. Quite a song. "Lost" immediately follows and is my favorite song on the album. A more traditional rock and pop structure. Great synthesizer and vocal chorus and drumbeat. It is about a relationship and mentions his cocaine-smoking girlfriend. Heavy stuff lyrically. This album is quite the achievement. It is not only considered by many as one of the best albums of 2012 but of the 2010's. Getting into this the album is a lot ( a lot here) but days like this makes ths challenge rewarding, especially when you get into and listen to something like this.

"Moon Safari" is the debut album from French electronic duo Air. The music is laid back and in the downtempo or chillwave category. Some people have compared this to sounding like and influenced by Garbage and Everything But Girl. I'd also add Kraftwerk and Daft Punk. I've always like this album. Very relaxing. I like the variety between songs with some being/using computer-distorted vocals, an actually female singer, all instrumental, changes in drum beats, odd sounding noises, more strings, more soundtrack-like, the use of the Moog and other random instruments. The album begins with the instrumental "La Femme D'argent" with kind of a funky groove, ambient keyboards, outer space sounds and definitely chill. The second and biggest song on the album is "Sexy Boy." It has great keyboards with its melody and also giving it a trance-like atmosphere. The voice is highly computerized, French and English and very androgynous. An actual female lead singer, Beth Hirsch, gives the third song "All I Need" an emotional punch maybe missing in the first two songs. An acoustic guitar start also gives it more a traditional rock song structure but that eventually yields to a Moog synthesizer. And, by the fourth song "Kelly Watch the Stars" with its distorted vocals, repetitive lyrics, actual drums, organ weird Moog sounds and glockenspiel, you have no idea where these songs might be going. A definite Kraftwerk influence here. Another song of note is "You Make It Easy" again featuring vocals by Beth Hirsch. Another more tradional song, softer, nice beat, background synthesizers. Laid back. "Moon Safari" is highly thought of critically. As previously mentioned, I liked its relative variety of songs, all still within the electronic and chill category. I had Air's soundtrack to "Virgin's Suicides," a few months ago. I think "Moon Safari'" is a better place to start if you want to check out Air and chillwave-type music.

"The Rise & Fall" is the fourth studio album by the English Ska band Madness. It is known as their most experimental album by also incorporating a range f other styles - jazz, English musical hall and Eastern influences. Within those, I mostly heard the musical hall category. I would say that this is also kind of in the pop category...great choruses and happier-sounding, upbeat music. It was originally conceived to be a concept album about child nstalgia. According to lead singer, Suggs, each band member was to write songs about their childhood, but not everyone did that. The album has been compared to The Kinks' "Village Green Preservation Society" and Blurs' "Parklife." I see the "Parklife" comparison. For some reason, this album was not released in the US. I'm not sure why; "Our House" was a huge song. I enjoyed pretty much every song. There is a lot going on in almost every song with these band members. "Rise and Fall" starts things off in grand fashion with sax, piano, keyboards and quickly changes to a quicker more ska-pace tempo. It then slows back down and speeds up. Nice sax solo. "Tomorrow's (Just Another Day)" was the second single and has a more melancholy-pop feel. Defintely music hall influenced. Cool harmonica. Great vocals and chorus repeating the song title. The third song "Blue Skinned Beast" takes a swing at Margaret Thatcher and her Falkland's War handling. Quick and changing tempo, more in the Ska style. Great sax. Not much to say about "Our House." Love the start, the way each instrument is incorporated and especially the vocals and lyrics. "Brother got a date tonight, we cant hang around" The last song. "Madness (Is All in the Mind)" is also worth a listen, more in the jazz style. Madness was a big band in the UK and Europe overall. Not so much in the US, besides "Our House." This was my first dive into them and two thumbs up. Not a bad song and a good listen just to appeciate the activity of the band overall.

"Roots" is the sixth studio album from Brazilian heavy metal band Sepultra and the last one with vocalist and rhythm guitarist Max Cavalera. I was expecting a lot to hate about this album. Oh, and there is a lot of hate in this album but I actually found quite a bit to like. It figures. Sepultra is classified as both groove and nu metal. I think that's what scared me is that I don't like most nu metal. I heard both but more in the groove metal category which is more tuned-downed guitars, slower tempo and screeching/raspy lyrics (Pantera). This album continues where their album "Chaos AD" left off with slower and more latin tempos and goes further into Brazilian music rhythm and textures. The band actually went into the rainforest to write and record with the indigenous Xavante people which had a major influence to the lyrics and music. The percussion and rhythms are definite highlights in this album. The assault starts with their first single as well, "Roots Bloody Roots." Grinding, nu metal guitar. Great guitar solo and percussion. Angry, angry, angry...about saving culture. The second song and single "Attitude" continues the anger but starts off acoustically. Massive drumming. The later-song guitar is more in the groove metal area which I liked better than the previous song. The third and final single "Ratamatta" has chanting in Portuguese, multiple and tribal-type percussion and appearances by Korn drummer David Silveria and Brazilian singer/musician Carlinhos Brown. No let down on the second half of the album. Both "Born Stubborn" and "Ambush" hit hard with the guitars, percussions and themes of culture and the environment. Maybe the most interesting song on the album is "Itsári" recorded with the Xavante people...huge percussion, tribal chanting and a sitar. There is a lot going on in this album. It is hard and loud, definitely not for everyone. I am not big fan of either nu metal or groove metal but this album especially adding the percussions and added rhythms has to one of if not the best in that category for me.

"Bryter Layter" is the second of three studio albums from English singer-songwriter Nick Drake and last one with backing musicians. And what a backing he had: Members of Fairport Convention (Richard Thompson, Dave Pegg, Dave Mattacks), John Cale and Beach Boy sessions musicians Mike Kovalski and Ed Carter. This is beautiful sounding music and singing - gentle, relaxing and quiet. The lyrics themselves are poetic but also sad or melancholy which is in contrast to the music. The music itself is much happier with great acoustic guitars, jazzy with horns and also somewhat Baroque pop with the string arrangements. I'm always a sucker for dichotomies in lyrics and the music; this is a great album. Nick Drake suffered from depression and would die four years from a drug overdose (suspect suicide). His music would and continues to grow in popularity and influence. I definitely hear that today. The album begins with an instrumental which then goes into "Hazey Jane II". The horns and the Backing Fairport Convention gives the music a majestic, rollicking and happy feel. I think Drake is singing about the hard reality of society. Here is where I hear major influences in the band Belle & Sebastian's music. "At the Chime of a City Clock" has a more melancholy feel and Baroque pop with the added strings and horns. Drake had moved to London from the country and this song gives his observations. "Poor Boy" appears to have very personal lyrics about Drake himself and his introverted nature. Great piano by session-player Chris McGregor. There are backing gospel singers which some critics don't like. I found it find. "Northern Sky" is perhaps my favorite song on the album. John Cale adds a lot with his piano playing. Interesting drums. A sad love song. I highly recommend this album. I seem to gain a little more with each listen. Any one of Nick Drake's albums are worth checking out.

"Sgt. Pepper's Lonely Hearts Club Band" is the eighth studio album by The Beatles and, needless to say, is considered one of the best albums of all time. There is a lot of critique and history on this album. Maybe, its biggest accolade is that it is credited and recognized as taking the album to an art form by some critics. Some critics also disagree with that. It is also credited as advancing the roles of sound composition, extended form, pyschedelic imagery, record sleeves and the producer, ushering in the Summer of Love, influencing youth culture (fashion, drugs, mysticism and sense of optimism and empowerment) and being the first "art rock" album and start of the album era. Wow! It is cited as having music styles in British pyschedelia, vaudeville, circus, music hall, avant garde, Western and Indian classical music. It is also categorized as a concept album with the Beatles as the Sgt. Pepper's Lonely Hearts Club Band playing to an audience. Listening to it in a lot more detail, one of the things that stood out is the variety of styles especially from song to song. Yet, the song order is important especially when it ties in the loose band concept at the start and end. So many highlights...the important contributions of all members, Ringo's drumming, Harrison's song, the collaborative singing/writing of Lennon/McCartney and the amazing production. The album begins with the self-titled "Sgt. Pepper's Lonely Hearts Club Band" with its background audience noise and iconic guitar riff. McCartney, the master of ceremonies, introduces the band...the band-audience interaction. The songs segues right into "With a Little Help from my Friends." It's hard to imagine anyone but Ringo singing this. Ringo asks questions and then gets his answers at the end. "Lucy in the Sky with Diamonds" begins with that unmistakable sound blending the Indian tambura and organ. This is the Beatles at maybe their most pyschedelic. According to Lennon it was inspired by Lewis Carroll's book "Through the Looking Glass." Maybe some other things too? The second side starts with "Within You Without You." This song was all George Harrison, producer George Martin and Indian-based musicians combining Indian music and Western strings. Maybe the soul of the album and about Western materialism. I've always liked "Lovely Rita" with its great vocal chorus. The Sgt. Pepper's Band returns, more rocking this time, and goes straight into the album closer "A Day in the Life." Four verses, a bridge, a dream sequence, a middle part. Everday life made dreamy. Quite a finish to a great album. I can't really debate the significance of this album without doing a whole lot more research, maybe a lifetime's. All I know is that this album still sounded as wonderful as it did when I first heard it.

"Dr. Octagonecologyst" is the debut studio album by rapper and Ultramagnetic MCs' Kool Keith, actually Keith Matthew Thornton and alias Dr. Octagon. Other key members were producer Dan "The Automator" Nakamura and turntablist DJ Qbert (additionally produced by KutMasta Kurt). I will say the production and scratching are absolutely fantastic. This had to be one of the weirdest albums I've listened to and, of course, I liked it quite a bit. The album introduces the character Dr. Octagon who is a homicidal, extraterrestrial, time-traveling gynecologist and surgeon. Yeah. The songs pretty much piece together his story with weird and eerie music, lyrics, noises and sampling. The lyrics are very unique being absurd, funny, non-related to each other, something rapped and other sometimes spoken. The music is considered as fusing pyschedelic, trip-hop and electronic. I actually think it's some of the best combination of rap and electronic music I've heard. The album begins with "Intro" with its creepy music and has the doctor talking with a nurse he entually has sex with. Spoken word and we're off to a good start which then transitions into the second single "3000." More of a straight-forward hip-hop rap song and, yeah, we're in the year "3000." Remember the time travel. The fourth overall song and first single is "Earth People" with its heavy organ intronand transitions into a funky beat. One of the best combos of rap and electronic music as the later half of the song sounds like Kraftwerk. Tremendous scratching. And yes, he's from Jupiter Earth People. Songs continue to fill in his story and we get to "Wild and Crazy," maybe my favorite song on the album. Just a great groove. Deeper beats and bass. Great scratching and eerie production. The album ends with "1977" and we're back in the Disco era with more straight-forward rappin', a pyschedelic feel and mentions Grandmaster Flash. This album was quite the ride. I don't know about the overall story but the music and production were great. Recommended for anyone willing to sit enjoy the beats and music and maybe laugh a bit.

"Idlewild" is the fourth studio album from Kingston upon Hull duo Everything But The Girl. The musical style is in the pop, jazz-pop and sophisti-pop categories. That sounds about right. Acoustic instruments, synthesizers and a drum machine are used. The songs deal with daily and family life and are sung more in the short story format. No real choruses here. The music is mellow, easy listening and, I guess, nice pop. They're well-constructed and Tracey Thorn has a nice voice. This was fine for me with what they're trying to do. The album (actually reissued album) begins with their biggest song (on the album) "I Don't Want to to Talk About It." It is a cover ballad song orginally written and orginal recorded by Crazy Horse guitarist Danny Whitten in 1971. It's also my favorite song on the album...nice acoustic guitar, strings'synth, soothing. The next three songs were also released as singles: "Love Is Here Where I Live" - drum machine and polished pop, "These Early Days" - nice pop melody and about child raising and "I Always Was Your Girl" - great soulful singing and a sax. The rest of the album continues with the solid pop-oriented songs. Everything But The Girl would hit it bigger in the US about six years later with "Missing." If you're up for more mellow, chill and pop music, this is a perfect album for you.

"Kilimanjaro" is the debut album from the Liverpool band The Teardrop Explodes consisting of Julian Cope (vocals, bass), David Balfe (piano, organ, synthesizer), Gary Dwyer (drums) and Alan Gill (guitar). The music is categorized as neo-pyschedelic, post-punk and new wave. Alright. To me, this music has a definite early 80's feel with its use of keyboards, horns and especially the peppy (best word I could think of) tempos and rhythms. I thought this was a really good album. Plus, they have one the coolest band names which is based on a panel caption from a Marvel's Daredevil comic strip. This album has a number of different versions and reissues. I listened the 17-track version with their hit "Reward." The album starts with "Ha Ha I'm Drowing" and its funky bass lines, horns, synthesizers in the background and sort of a chaotic guitar break in the middle of song as the rhythm changes as well. Tempos change a few times throughout. A straight-forward song about relationship troubles. The second song and first single "Sleeping Gas" builds with its guitar, drums and vocals on top of each other creating kind of a paranoia feel. This song reminded so much of "With Sympathy"-era Ministry, which I like. The third song and single "Treason" is maybe my favorite song on the album with a very catchy vocal chorus. Definitely one of the more "poppier" songs on the album. The second half of this album version continues the good songs. The second single "Bouncing Babies" has a psychedelic keyboard/organ melody, changes tempos between verses and is very unique. I think it kind of purposely tries to create an eerie feeling with the music and lyrics about how one becomes more toxic as life goes on. Another single ""When I Dream" continues the pyschedelic keyboards creating kind of a dreamy atmosphere. The previously mentioned "Reward" was the biggest hit on the album. It has a more peppy tempo, adds horns and again has that eerie pyschedelic keyboards and organ going on. A commentary on pop stardom. If you are a fan of the Sirius XM radio station "First Wave" this is right up your alley. I'm a fan so I liked this quite. Some of the songs also sound very similar to Echo and the Bunnymen which probably isn't surprsing given Julian Cope and Ian McCulloch were in a few previous bands together.

"Rum Sodomy & The Lash" is the second studio album by the London-based Pogues. The music is categorized as Celtic punk and folk punk and they were definitely the leaders in those punk categories. Although, I would say they play more traditional Celtic then later bands like The Dropkick Murphys who are more punkish. Some great quotes here; the album was named after a Winston Churchill quote: "Don't talk to me about naval tradition. It's nothing but Rum, sodomy and the lash." The album was produced by Elvis Costello who delivered this: "I saw my task was to capture them in their dilapidated glory before some more professional producer fucked then up." This album is pretty free-flowing in the traditional Celtic music fashion and to me the strength are Shane McGowan lyrics. His songs are more like stories, about the likes of war, different characters and lots of mentioning of pubs....imagine that. Thr album starts slow with "The Sick Bed of Cuchulainn" and then picks up the tempo. The story is of a man laying on his death bed looking back on his life which included all sorts of various drunken adventures and characters. The first single "A Pair of Brown Eyes" is slower and in the Celtic music tradition. Great mandolin playing especially at the end. A guy goes to a pub after breaking up with his girlfriend and talks to a war veteran. The second single "Sally MacLennane" is more up tempo and happier sounding. The song reminded of those Irish Spring soap commercials and, 9also, singing at a pub. Well, it should; Sally MacLennane is a pub. Although the music sounds happy it's about a guy who goes away and comes back to his town where everyone is gone. And finally another song worth mentioning is "Dirty Old Town" which is a traditional song written by Ewan MacColl about Salford, England. Great vocals by McGowan. I admit to being not the biggest fan of this music. This album definitely grew on me especially with Shane McGowan's delivery and story telling.

"Teen Dream" is the third studio album from the dream pop duo Beach House. Dreamy is an apt description for this type of music as with its guitar, keyboards and especially vocals create a dreamy atmosphere. Beach House consists of Victoria Legrand (vocals, keyboards, organs, bells) and Alex Scully (guitars, bass, piano). A few additional musicians also played the drums. They wanted to create a more sophisticated album than their previous two and wrote and recorded this one after touring. Lyrically the songs use imagery and are mostly about relationships...break-up, forbidden love....kind of a sadder overtone. One of the more distinct aspects of Beach House is the deep contralto of Victoria Legend. It's has been compared to Nico and Hope Sandoval of Mazzy Star. I guess I see that. For this music style, it is perfect. This is also a very good album. "Zebra" starts the album about with its repetitive guitar and builds with the drum beats. A sad sounding song It is about admiring about someone who stands out..ah, a zebra. "Silver Soul" is more dreamy and gloomy. Guitars and keyboards used here and is a standout track. I think it's straight-forward about falling in love. Their biggest hit and third song is "Norway." The twinkling and slide guitars and detuned keyboards.. This is lush and woozy sounding. Imagery of Norway. The most pop-sounding song on the album. The first single was "Used to Be" and about two lovers growing apart. Nice piano start and a beautiful beat and song. The combination of organ and keyboards and the melody make "Lover of Mine" a highlight. About cheating or the lure of cheating. "10 Mile Stereo" may be my favorite song on the album...it's dreamy with the guitars and melody and builds into almost shoegaze territory adding more of a rock beat, increasing tempo and keyboards. Another bad love song...about the ending of a bad relationship. I've liked every Beach House album that I've listened to and I've heard most of them. This one is probably at the top. I recommend it for everyone. If don't like it, you'll know within the first few minutes of the first song.

"Pump" is the 10th studio album from Aerosmith which included (in the US) four top-40 hits. Aerosmith wanted a more raw sound than their previous album "Permanent Vacation" and also, producer Bruce Fairbaim wanted to get in as many hooks as possible on the songs. I think they accomplished both. A critic called this "the high-water mark of the glam metal era." Is that like being the world's tallest....oh forget it. Glam metal was a huge musical genre in the late 80's and this is probably one of the better ones. I liked how they kind of sound like "Rocks"-era Aerosmith combined with some of the glam metal choruses and hooks. They brought in experimental instrumentalist Randy Raine-Reusch which adds a unique sound to some of their bigger songs. Most of these songs have sexual themes. No surprises there. Although, there are a few deeper lyrical songs about abuse, guns, the environment and drug abuse. The album starts out rockin' with "Young Lust" and "F.I.N.E" and reminiscent of early to mid-70's Aerosmith. Great Joe Perry guitar. Lyrics about lust, sex, etc. "Going Down/Love in an Elevator" kicked off the successful string of singles. Funky start. Horns. Great production. The glam metal chorus. "Water Song/Janie's Got a Gun" ends side one. One of the cooler things about this song is the musical intro by Randy Raine-Reusch using a glass harmonica. A deeper song about abuse, molestation and even gun control. The video was pretty deep if I remember correctly. Side two begins with another hit "Dulcimer/The Other Side." Another Randy Raine-Reusch intro with the dulcimer. Horns and big start. Nice chorus. Aerosmith had to include Holland-Dozier-Holland in the writing credits for the similarities to "Standing in the Shadows of Love." The albums ends with "What It Takes," a ballad of sorts I would say. Sometimes Stephen Tyler's voice can irritate me but he actually shines in this song. Pretty good lyrics too..breaking up with someone and realizing the relationship meant nothing to them. I admit to not being the biggest Aerosmith, or even glam metal fan. And, this is the first time listening to this, probably since half these songs were played pretty much throughout 1989. However, this is a really good album accomplishing probably everything they wanted to do. It did not sound dated and has an old school Aerosmith harder edge taking it over the top for me.

"Sincere" is the debut album from English Garage DJ MJ Cole. English Garage is a genre of dance music originating from England in the early to mid90's talking elements from R&B, jungle, dance pop and also encorporating gospel piano riffs and female vocals. Considered more soulful than Chicago House also big at the time. MJ Cole worked as a tape operator and sound engineer in that musical area before making his own album using a sampler and Atari ST. Truthfully, I had trouble getting into this. Almost all the songs had beats similar to Bell Biv DeVoe's "Poison." It also kind of reminded currently of Disclosure. Some songs of note here. "Crazy Love" features Elisabeth Troy on vocals with her soulful voice. Nice keyboard intro and progression. Got that good beat. "Sincere" was the biggest single and features Nova Casper & Jay Dee on vocals. It has a cascading keyboard melody and creates almost a more chill/jazzy atmosphere. Maybe it was the repetitiveness of the songs or the genre itself but I had trouble focusing on this. It is not bad sounding by any times but just grab me. If you're more into the 90's house-type music, this might for you.

"White Blood Cells" is the third album from the Detroit duo The White Stripes consisting of Jack and Meg White. This album was recorded in essentially four days with songs purposely unorganized and propelled them to commercial success. This is strip-down raw, garage rock using only guitars, drums and sometimes also a piano/organ. It was a change from their two previous albums which had more blues influences. 16 songs each clocking in between one to three minutes. This is a fantastic album sounding a lot like the MC5 and other 60's bands but definitely The White Stripes. The lyrics are about love, hope, betrayal and paranoia. The album title and cover parody mainstream popularity and the media by being attacked photographers (cover) symbolized by white blood cells in the title. The album starts with my two favorite White Stripes' songs. Guitar feedback leads off "Dead Leaves and the Dirty Ground" which then continues with that raw guitar and Meg's drums. Excellent use of the loud-soft-loud dynamic. Great lyrics about the ending of a relationship. The fun continues with "Hotel Yorba" and acoustic guitar and rolling, rollicking beat. The title based an actual hotel a few block away from where Jack White grew up. A love song. A great raw (used a lot here) and 60's guitar starts and continues their biggest song "Fell in Love with a Girl." At 1:50, it ends before you knew what hit you. The second half continues the great songs. Really no bad songs here. "The Same Boy You've Always Know" begins with a slower pace. Great guitar melody. Another song about the ending of a relationship. "We're Going To Be Friends" is a slower song with an acoustic guitar. Almost ballad territory. A simple song about school and friends. Playful lyrics. Another personal favorite is "Aluminum" with distorted guitars, feedback and screaming. Just when you thought it's time for them to let up, it's not. "White Blood Cells" is high up on many of the best albums of the 2000's and rightfully so. This simmers from start to finish. I think it's probably their best but I like a few others quite a bit too. A very high recommendation.

"Modern Life Is Rubbish" is the second studio album from Blur following a media backlash from their previous album "Leisure" for its fading bagging music scene (Manchester dance) and unsuccessful US tour and a change to more tradional rock-pop (Kinks, Small Faces). I found this quite good. The songs are more melodic and lush using brass, woodwinds and backing vocals. There are definitely songs that have that Blur-type sound that I'm familiar with. The lyrics are built around traditions and scenery of England and London, supposedly on purpose for lead singer Damon Albarn's dislike of the US after their last tour. The band had to record two additional songs "For Tomorrow" and "Chemical World" after their Food record company owner David Balfe (of The Teardrop Explodes) initially rejected the album and told them he thought the album was artistic suicide. Wow. Hindsight. I thought one of the highlights was the exceptional, unique guitar playing of Graham Coxon. This album is considered on of the defining albums of Britpop. The album begins with the first single and song they wrote for the record company to release the record, "For Tomorrow." It's very poppy and peppy. Strings. Background vocals. Nice production. It seems to be kind of a montage of London. One of the highlightlighr for me is "Pressure on Julian." It's an obvious dig on The Teardrop Explodes' Julian Cope and especially their record label owner David Balfe. Just excellent and weird guitar by Coxon, sounding like the frickin' Jesus Lizard. It's pyschdelic and also reminds me of the Kinks, Pink Floyd and heck even The Teardrop Explodes...lol. "Chemical World" was the second single and appears to be about drugs and their use detaching one from the world/reality. Straight-forward pop-rock guitar and song. A kind of weird music hall/ vaudeville instrumental ends the song. Their third single "Sunday Sunday" has a nice guitar start. Albarn seems to be poking fun at older generations' nostalgic memories. Defintely Britpop and kind of Beatles-esque. It changes tempo and almost sounds a roller rink with the organ at the end. I enjoyed this album. It is the first of a trilogy of albums known as the Life or English Trilogy. I probably like of a few of Blur's later albums better. And at 58 minutes this is a long listen probably due to them recording two more songs. Maybe it was to piss off their record company. I doubt Blur gave a shit

"Sign O' The Times" is ninth studio album by Prince, a double album at that and the first following his disbanding of The Revolution. And what an album it is at that. It contains songs from the disbanded albums "Dream Factory" and "Camille" which he intended to make into a triple album "Crystal Ball." The record company nixed that idea and now we have "Sign O' The Times." The styles range from funk, soul, pyschedelic pop, rock and ballads...he covers a lot ground. Prince played most of the instruments including the Linn LM-1 drum machine, state-of-the-art-at-the-time Fairlight CM1 keyboard and introduces us to his androgynous alter-ego voice in Camille. Lyrically, he is all of the place too...social commentary, stories, love, sex. It is considered the most expansive R&B albums of the 80's, one of the best overall albums of the 80's and to many his best. The album journey begins with his first single "Sign O' The Times." A serious, dark one at that...social commentary on drugs, poverty, hurricanes, the Challenger disaster, AIDS and gang violence. Idiosyncratic drum machine, his stud keyboards, sampled bass and eventually funky guitar. The second song "Play in the Sunshine" lightens things up and sounds like it belongs on "1999." Dance beat, keyboards, great guitar solo. Let's forget the world of the first song and party. The third song "Housequake" introduces us to Camille. Great dance beat. Funky. Another let's party song. A great song on side two is "Starfish and Coffee." Here's his soulful and funky album song. About a girl who ate starfish and coffee. Is she autistic (serious)? Or just carefree ( less serious)? The third side contains the big hits. "U Got the Look" starts big and grand. Dance beat. Funky again. Oh, and Sheena Easton and Camille again on vocals. I forget the weird guitar part in this song. Camille appears again on the second single " If I Was Your Girlfriend." Organ intro. Mechanical drum beat and great groove. And then side three ends with one of my favorite Prince songs "I Could Never Take the Place of Your Man." Maybe a perfect rock-pop song. Great, great melody and vocals. A classic Prince guitar solo. I like the album song version which give us that extended Stone-esque "Can't You Hear Me Knockin" part. And if you thought that was enough, here comes side four with three completely different songs rubbing his talent in our face. The slow rock-epic of "The Cross." He goes totally Parliament-Funkadelic in the nine minute "It's Gonna Be A Beautiful Night." And the albums ends with "Adore " Prince at his most soulful. A ballad of sorts. Slow. Horns. Prince goes falsetto ( not Camille though). A fantastic ending. Even if you do not like Prince (I don't know how you cannot at some level), this should be a required listen. An amazing achievement from an amazing talent.

"The Modern Lovers" is the debut album by the Boston-based band The Modern Lovers which, for this album, consisted of Jonathan Richman (lead singer and guitarist), Jerry Harrison (keyboards, future Talking Head member), David Robinson (drummer, future Car's member) and Ernie Brooks (bass). The album was released in 1976 but was recorded in 1971-1972. Going to LA, they recorded six songs for Warner Brothers with John Cale (Velvet Underground fame) as producer and two songs for A&M and Allan Mason as producer. When they returned to Boston, the band couldn't decide on a record label and, additionally, Jonathan Richman wanted to redo the songs in a totally different direction. Eventually, Richman's new record label Beserkley remixed the orginal tapes which then became the album in 1976. The music style is referred to as proto punk. That is actually a very good name; this music is basically an interception between some of the pyschedelic 60's, the Byrds, the Velvet Underground and the forthcoming punk. No surpise a heavy Velvet Underground influence; besides Cale as the producer, RIchman was a huge VU fan and is featured prominently in their Hulu documentary. Lyrically these songs are mostly about girls and relationships but not all. This is a really good album. 1, 2, 3, 4, 5, 6 and the album starts with their single "Roadrunner." Richman's nasally voice. Straight-forward 60's sounding rock. Nice Keyboard interlude and a fantastic ending with the backing vocals. A song about driving around listening to the radio, stopping by the store and maybe about isolation. A favorite of mine, "Pablo Picasso" ends the first side with a dark Velvet Underground vibe. Acoustic guitar. Electric guitar enters and now gives the song a 60's pyschedelic, Byrd's-esque feel. Some guy (Pablo Picasso) gets all the girls and fame without really trying. Richman said it was about his obsession with girls. Let's get more of the punk flowing on the second side with "She Cracked." Quicker tempo, harder, more rockin' than anything previous. His girl went crazy but he won't. "Girl Friend" is a slower song, more relaxed. Kind of punk poetry and imagery comparing his girlfriend/love to art and understanding both. "Modern World" ends the album rockin'. 60's guitar. Another VU-influenced song. This album is considered a classic and rightfully so. This is good place to start with Jonathan Richman. But don't stop there, he has fantastic music throughout his career and is well-worth checking out.

"Elvis Presley" is the debut album from Elvis Presley. The songs were revorded in 1956 at RCA Victor studios in Nashville and New York City and at Sun Studios in Memphis in 1954-1955. RCA Victor's Steve Sholes took a chance on Elvis Presley and rock and roll based on his No. 1 single "Heartbreak Hotel" buying out his Sun Studios contract for $40,000. Good move. At the time, hit songs were released as singles while lesser songs were put on albums. This album was unusual in that it contained all his singles. Well, it was successful becoming the first rock and roll album to top the Billboard album charts and sold over 1,000,000 copies in 1956. It also has the iconic album cover of the Elvis photo taken in Tampa circa 1955 (Thanks Dave) and the design was later obviously echoed/copied by the Clash for "London Calling." All the 12 songs roughly clock in at 2 minutes and were written by someone other than Elvis. The album starts with the classic Carl Perkins' song "Blue Suede Shoes" considered one of the first rockabilly songs combining R&B, country and rock and roll. Elvis definitely made it his own. Check out the great guitar by Chet Atkins. Elvis picks up the pace covering Eay Charles' "I Got a Women." He is getting that Elvis bravado going. Elvis flexes his crooning on the ballad " I Love You Because." Side one ends with the 1929 country cover "Just Because," a good example of taking a country song and making it rock and roll. Side two starts with Elvis doing "Tutti Frutti" I don't know if Elvis added anything beyond what Little Richard did but it is Elvis. The album ends with Elvis at his most Elvis and "Money Honey." His crackling voice. A cover of the Jesse Stone-written song. This song has hints of "Heartbreak Hotel" and "Hound Dog." I also hear a lot of similarities in the music to Bill Haley's "Rock Around the Clock." I believe Elvis may have some better albums in the near future but this one is historic for all the reasons mentioned in the first paragraph and showcases a lot of his incredible talents.

"Oracular Spectacular" is the debut album and first album of content from MGMT. MGMT formed in 2002 in Middletown, CT and consists of main members and multi-instrumentalists Andrew VanWyngarden and Ben Goldwater. Additional band members have been added for albums and tours. Their music has been classified as neo-pyschedelic, indie pop and pyschedelic pop. That's apt; their songs are pop with weirder elements incorporated. This album is particularly front-loaded with their hits at the beginning. But, those hits are pretty great with "Time to Pretend" and "Kids" as two of my favorite indie/alternative songs of the 2000's. The album begins with a song they wrote as seniors in college "Time to Pretend" and is just a fantastic song. Pyschedelic start. Great keyboard intro and melody. Inspired by watching preying mantises in and on one of their model pirate ships. Woah! Maybe inspired or enhanced by other things too. What's it about? Growing up and becoming serious? Living the rock star life? Both? The second song "Weekend Wars" sounds like the White Stripes with an acoustic guitar. Nice vocal chorus ending. Living for the weekend are we? Their second single "Electric Feel" has another great keyboard melody and a heavy bass. Probably their most pop-oriented song. Another song with a drug focus. Their third and final single "Kids" kicks in with a great keyboard hook and beat. Multi-layered vocals. The lyrics going serious about the environment. Another fantastic song. The second half of the album slows down and things get a little more pyschedelic. These songs reminded me of The Flaming Lips. Two songs that got my attention were "Of Moons, Birds & Monsters" for is its pyschedlelic guitar solo and "The Handshake" for its general overall "Yoshimi & The Pink Robots" vibe. I recommend this album alone for their singles. The second half doesn't have quite the hooks but doesn't totally deter from an overall pretty good album.

Hey, finally a Stones album and a great one at that. "Sticky Fingers" is the 9th British and 11th American studio album for the Rolling Stones. It is the first album on their Rolling Stone label and the first usage of their tongue and cheek logo. The iconic cover is a photo from Andy Warhol's art collective, The Fancy, and featured an actual working zipper. Later pressings had to remove the actual zipper due to it damaging the vinyl. It is considered one of the all-time best album covers. Musically, the Stones went back to a more blues, R&B and country focus from previous albums which had pyschedelic elements. One of the reasons is that Mick Taylor replaced Brian Jones on guitar. And Mick Taylor brings a lot to the table on this. Songs were recorded at both Muscle Shoals Studio in Alabama and in Stargroves in the UK. The lyrics are basically about girls and drugs. The music has just a dirty and nasty feel and vibe. The second album side is a highlight for me where they write and record pretty much the best songs about drugs ever...ever. One of the most recognizable rock and roll guitar riffs opens up "Brown Sugar." The swagger. The groove. Booby Keys on tenor sax. I've always like Mick Jagger on the maracas. Lyrically, this song would not get recorded today..about girls, drugs and other things. One of my favorite deep album cuts from anyone is "Sway" with the incredible bottleneck slide guitar and ending guitar solo from Mick Taylor. Charlie Watts. Keith Richard's backing vocals. "It's just that demon life has got me in its sway." And speaking of great lyrics, "Wild Horses" has some the Stones' best and is about staying with someone who's done you wrong. A country song ( yes and not the last one) written with Gram Parsons. Both Mick Taylor and Keith Richards on acoustic guitar. Let's keep talking about Keif as he just delivers one of the best and most bad-ass guitar openings ever in "Can't You Hear Me Knocking" and continues throughout the song. Jagger on the lady prowl. The main song is only about 2:43 but the tape machine was left on after the band ended the song where they proceeded to just jam. To me, Prince seems to pay homage to this jam on his album version of "I Can Never Take the Place of Your Man." The second druggy side kicks in with their straight-forward rocker "Bitch." Great horns. Another nasty bad-ass guitar solo. Can we say heroin. "Ya, when you call my name, I salivate like Pavlov's dog." Speaking of heroin, "Sister Morphine" was written with Marianne Faithfull. Great slide guitar by Ry Cooler and piano/organ by Jim Nitzche. The darkest song on a pretty dark album. Continuing the heroin theme, "Dead Flowers" was a song inspired by Gram Parsons. Their second country-based song. Jagger with a southern US accent. Mick Taylor and Keith Richard's on the honkey-tonk guitars. "Moonlight Mile" ends the album and is another one of the Stones' deep album gems and a ballad at that. Jagger and Taylor on the guitars. The songs ends majestically with strings. Most likely about loneliness/alienation on the road. It does mention cocaine to keep the drug focus going. It would be impossible for me to pick a favorite Stones' album but as you can see, which actually surprised me after I finished, this album contains a lot of personal musical highlights and great songs...not only in the Stones catalog but in rock and roll and any music style in general.

"Neon Bible" is the second studio album from the Canadian band Arcade Fire. They recorded this album at a church in Quebec and produced it themselves. The band used the song "Black Mirror" and a re-working of an earlier song "No Cars Go" as a starting point. They tried looking at America from an outsiders' view as a thematic perspective with the ocean and TV, particularly Evangelical preachers, also as themes and imagery. And, I would say they do it quite effectively. They incorporated a choir, orchestra and other less common instruments (hurdy-gurdy, mandolin, accordion and pipe organ) into the music. Some of those instruments play major parts. This album contains some of Win Butler's (lead singer) best lyrics. Arcade Fire's strengths have been they are good at building momentum within a song, ending majestically and creating almost anthems. I enjoyed this album a lot more today than when it came out. I think the music matches their theme as good as any of their albums. The album starts with oceans sounds on "Black Mirror" and builds with piano keys and the rhythm section. Kind of a haunting song about the uncensorship of TV's, phones-black mirrors. "Keep the Car Running" is another slow starter with strings and again builds into one of their more anthem-like songs. Great melody. Kind of Springsteen-like. I think he talking of paranoia and fear of pending things like death. The pipe organ plays a major role in "Intervention" giving a church-type feel. Obviously on purpose, since he's talking about political and religious hypocrisy. Again, a song great at building momentum with Win's and Regina Chassagne's vocals, strings and, heck, a xylophone. By the way, I'll always mention a xylophone if I hear it. A highlight of the album second half is "The Well and the Lighthouse" with an urgency in the music (bass, drums, guitar). A song about temptation and greed based on the Fable "The Fox, the Wolf and the Well." Regina's backing vocals are great again. One of the best Arcade Fire songs is "No Cars Go." The orginal version is very sparse. This version is their anthem. Strings, accordion, multiple singers, great lyrics. " Between the click of a light and the start of dream" --- reaching the perfect place. I gained a lot more respect for "Neon Bible." I think one of the reasons is that in their recent albums, they are almost too serious, both with their music and lyrics. They are serious in "Neon Bible" but they reach a great balance where it it isn't entirely overbearing. It's defintely up near their best with "Funeral" and "The Suburbs."

"The Hour of the Bewilderbeast" is the debut album by English singer-songwriter and muliti-instrumentalist Damon Gough known as Badly Drawn Boy. Gough wrote, produced, sang and played many of the instruments with accompaniment by members of The Doves and Alfie. The music is classified as indie pop, indie folk, chamber pop and lo-fi. The music has also been compared to Nick Drake. All those are appropriate; I would add in Elliot Smith too but Gough's music is not quote as dark as Drake and Smith. There is more optimism and I actually quite liked this album. Many others did too as it won the 2000 Mercury Prize for the best album released in the UK by a British or Irish act. It looks like the PJ Harvey album was technically released in 2001 for the award. "The Shining" starts the album with horns and strings with an acoustic guitar kicking in later. A beautiful song...sitting in the sun with someone you love. The second song "Everbody's Stalking" is the antithesis of the first song. Electric guitar. More rock. The music has a paranoid feel....well, it's a song about stalking. "Camping on the Water" has lovely interplay between the acoustic guitars. Great melody. A lot of similarities to Elliot Smith here. He's feeling broken and needs to get away. "Once Around the Block" continues an equally strong second album half. It's more jazzy with the drums, bass and rhythm guitar. A kind wah-wah guitar playing along too. A love song..first love? "Magic in the Air" relies on a piano, harp and an orchestra in the background. A new found love. "Pissing in the Wind" has a country feel with a slide guitar. The song builds. He sounds a lot like Richard Ashcroft of The Verve. An album highlight for Me. This is a really good album. No real faults other than it was quite long at 73 minutes (ah, the CD era). I don't know if Gough ever quite reached these levels in the future. This one, however, is worth checking out.

"Foxbase Alpha" is the debut album from the English band Saint Etienne although their name was taken from the French football team AS Saint-Étienne. Their style of music is described as a combination of club culture and house music with 1960's pop. That's fair enough. I also heard elements of trip hop, straight-forward pop and similarities in certain songs to bands such as New Order, Everything But The Girl and Spandau Ballet. The band cited OMD's "Dazzle Ship" as a major influence. The band consists of Bob Stanley and Pete Wiggs both on the synthesizers and other instruments and Sarah Cracknell who would eventually become a full-time band member and vocalist during the recording. This is a pretty good album and at times great. One of its strengths was kind of changing tempos and beats over the album length. I think if the music would have stayed with same beat it would have gotten quite boring. It was on the short list for the 1982 UK Mercury Prize for best album. The album begins with a TV or radio show or movie dialogue in French and the song "This is Radio Etienne." This leads into their cover of Neil Young's "Only Love Can Break Your Heart." An interesting cover choice but it works. They changed the time to 4/4 (more fast paced) from the orginal Waltz and also the chord progression. It is defintely more poppy. A driving piano and Moira Lambert was the lead singer, not Sarah Cracknell at this point. A first -half album highlight is "Girl VII" with its bongos and other percussion. The first heavier dance-oriented song on the album. Sarah Cracknell's vocals give it a dreamy atmosphere which is common on a lot of these songs. I Iiked the album second half better than the first. "People Get Real" reminded me a lot of New Order. A nice pop song and melody. A softer dance beat. "Nothing Can Stop Us" was the third album single and is the most soulful song on the album. It also has a great groove and is a happy sounding song. It samples Dusty Springfield's "I Can't Wait Until I See My Baby's Face." "Kiss and Make Up" was the second single. Another cover...this time of a Field Mice song. I guess piano-driven house music is an apt description. A weird synth start. A great dance-pop beat. Cracknell's sultry vocals. Probably my favorite song on the album. Saint Etienne was much bigger in the UK than the US. I had not heard them much. I enjoyed this album and will give some of their other albums a listen. I liked their variety kind of within their own style and their musical influences are bands that I am a fan of.

"Automatic for the People" is the 8th studio album by R.E.M. Peter Buck, Mike Mills and Bill Berry began working on this during the mixing of their previous album "Out of Time." The band didn't tour for "Out of Time" and "Automatic for the People" so they pretty much got to work on it right away. I remember that. They intended to make a more rockin' album. Well, that didn't happen. A lot of the songs are slower and deal with mortality, death, loss and nostalgia. Peter Buck said they were turning 30 and a lot of bands they grew up with in the 80's like The Replacements and Husker Du were no more and it seeped into the music. They actually intentionally put in more rockin' songs to break-up the somber mood. The string arrangements, a key part of this album, were done by John Paul Jones. The album name is based on a motto from a local Athens, GA eatery and the album cover was a picture of a star ornament from Miami hotel. Six of the twelve songs were released as singles. Wow! Some of these songs are among my favorite R.E.M. I honestly didn't know what to think when I first heard the album's first single and song "Drive." I was kind of like "Eh." It reminded me of "The Fly" from "Achtung Baby." I have a better appreciation of actually both songs today. "Drive" starts slow. An admitted homage to David Essex's "Rock On." Change your own live; make your own decisions. Things then get a lot more serious with one of my favorite R.E.M. songs "Try Not to Breathe." It's about Michael Stipe's grandmother dying. The is slow, a waltz. Gorgeous emotional lead and backing vocals. The band purposely lighten things up with the third more rockin' song "The Sidewinder Sleep Tonight." Influenced by and they paid the rights for "The Lion Sleeps Tonite." Peter Buck hates this song. Come on Pete! It's not "Shiny Happy People" or "Stand." The cool organ is worth it. So, we get to "Everbody Hurts." A song first written by their drummer (a lot more in reality) Bill Berry. A drum machine. Great string arrangements and melody. A song directly aimed at teens about suicide and not giving up. What a song! I think the highlight of the second side are the last three songs. Every song I'm skipping is good too. "Man on the Moon" was the second single and is more upbeat musically. It's hard to write about a song you've heard so many times. Although, I did listen deeper to the lyrics which are about not believing in everything you're told using nostalgia references like Andy Kaufman, man on the moon and Monopoly. "Nightswimming" is in my R.E.M. top ten. Perfect piano and strings. Looking back at memories and the loss of innocence and youth. Sadly beautiful. The album ends appropriately with "Find the River." Acoustic guitar, backing vocals and Bil Berry on the melodica. Is it about growing up and finding your direction? Or is it about coming to your river's end? Or both? R.E.M. had an incredible run of albums from their EP "Chronic Town" in 1982 through "New Adventures in Hi-Fi" in 1996. I've always said that any one of those albums could be your favorite and I'd probably agree with your argument. "Automatic for the People" is a top five R.E.M. album for me.

"Cheap Thrills" is the second studio album from Big Brother & The Holding Company and the last one one with Janis Joplin. The band and producer, John Simon, incorporated crowd noise to give the impression of a live album; they been a big success at the 1967 Monterrey Pop Festival. I was not a big fan of this audience noise. The album cover was supposed to be the band naked in bed but they were forced to use something different and went with a Bill Crumb comic strip which Rolling Stone rated at #9 for best all-time album covers. I wonder what them naked in a bed would have rated. The album itself was a huge success spending eight weeks at #1 in the US Billboard charts. The music is classified as blues rock and acid rock. I'm mixed on this album. The highlights for me were the decent combination between and sometimes within songs of blues and pyschedelic music and Joplin's vocals. I did not like the muddled sound and production and at times the music and band were just sloppy. The album starts with the created audience noise and "Combination of the Two." It's chaotic, pyschedelic and generally sloppy. It changes into a more soulful song than goes back to the pyschedelic. Side one ends with probably their two biggest songs, both covers. Joplin's soulful voice steals their rendition of Gershwin's "Summertime." The pyschedelic guitar and dual guitars are also pretty cool. Another great guitar intro on "Piece of My Heart." A Jerry Ragovoy/Bert Berns' written and Erma Franklin sung cover. Joplin's vocals tear this song up again. Side two begins with "Turtle Blues" and maybe Joplin's best vocal performance. A bluesy piano. The album ends with another blues number "Ball and Chain." A cover of a Big Mama Thornton song. The searing guitar is a highlight for me. The only song recorded live. This album obviously captured a big audience back in the day. Some real high points here with Janis Joplin and the guitar at times. The sloppiness and production prevented me from really, really liking it.

"Defintely Maybe" is the debut album from Oasis. It is attributed to the revitalization of the Brit-pop music in the 1990's and seminal in the whole Brit-pop music scene...more optimistic than what was going on in grunge at the time. I will say that this album is quite a bit more rockin' than what I think of Brit-pop today... really only "Digsy's Dinner" give me that Brit-pop feel. It reminded more of classic 70's with its guitar bridges and guitar over-layers. However, the album creation did get off to a rocky start with the first two productions/producers being thrown away/fired and finally landing on Owen Morris who took away some of the orginal overdubs. The album was a huge success, selling 8.5 million copies world-wide. The album kicks off with "Rock 'n' Roll Star." A guitar intro, well produced, rocks pretty hard. Liam Gallagher, never the bashful one, lives to be the rock and roll star. "Shakermaker" is the second song and single. Slide guitar. The lyrics are about noticing the world around including things like coca-cola. "Live Forever" is slower, more pop-oriented, classic guitar bridge and the first song I remember, being in the US. It was a big international song. Liam continues his stardom quest about the immortality of rock stars. The album second half continues the slew of hits with "Supersonic" and the album's first single. Another guitar -driven song, slower though. Here's the alluded to optimism about getting out and making something out of yourself. I thought I changed the station as "Cigarettes & Alcohol" started and I was listening to T. Rex's "Bang a Gong." A pretty classic 70's glam rock sounding song. That's fine with me. The middle class appeal of cigarettes, alcohol and drugs. "Slide Away" was to be the fifth single from the album but Liam didn't think a debut album should have that many singles. A pretty-standard sounding rock song and structure but these guys do make it sound good. Great vocals by Liam. Songs from this album were the first of the Brit-pop songs I heard for awhile. As I recall we didn't get a lot of exposure to them in the US unless you were specifically looking them (initially, I missed out on bands like Suede, Manic Street Preachers and Pulp). No matter my opinion personally of the Gallagher brothers, this is a very good album which rocked a little harder than I remember.

"Golden Hour" is the fourth studio album from Kacey Musgraves. She co-wrote and co-produced with Daniel Tadhian and Ian Fitchuk. The music is classified as country pop with elements of disco, electropop, electronica and yacht rock. Yeah, without knowing anything, I would just classify this as pop. This is a nice sounding and very well-produced album. Kacey said she wrote a lot of love songs, which she hadn't too much before, as she just was coming off getting married and was in her golden hour. Never bashful about publicly stating she does drugs, she said she wrote a few songs under the influence of acid. Good for her. This album was a huge success being nominated for and winning four Grammy's including album of the year. This album is filled with hits. It starts with "Slow Burn" and its guitar-driven and "poppy" sound. Great lyrics..."Born in a hurry, always late." Nice lyrical use of contrasts. Another nice sounding song is the second single "Butterflies." Good production with its keyboards and piano. She uses a vocoder in "Oh, What a World." Another enjoyable, optimistic song. Guitar. Banjo. The album second half continues her run of singles. "Space Cowboy" might be its most country-sounding song. Slide guitar. Dreamy...yeah, this is one of the ones she wrote tripping. Give her man some space. "High Horse" incorporates more of a dance beat and chunky bass line. This reminds me more of a late 70's song. She even sounds nice telling her man to hit the road. The album ends with her final single "Rainbow." A beautiful ballad. Rain and rainbow imagery. An uplifting song about not giving up... There's always a rainbow above your head. I saw Kacey at Lollapalooza the following year and she was very good. This is a great album with a lot of top-notch pop songs. I don't if she'll ever reach these heights again but she doesn't have to; she has this.

"H.M.S. Fable" is the third album by the Liverpudlian band Shack and the first album after the band's reformation following their previous album "Waterpistol" and an album by an off-shoot band, The Strands. H.M.S means Her Majesty Ship which makes sense given the album cover and some of the lyrics. Yeah, I had to look that up. Shack consisted of Mick Head (vocals, guitar), his brother John Head (guitar), Justin Smith (bass) and Mick Hurst (drums). This is a very well-crafted and well-produced (Hugh Jones and Youth (Martin Glove)) album. Definitely in the pop (or Britpop) category but also has some pyschedelic and prog elements. This is one of the most happy and optimistic sounding albums given that some of the songs are about the Head brothers' struggles with drugs, which was no secret. The album starts extremely strong with two great songs. "Natalie's Party" is pop sounding and also reminds me of Cracker. Very optimistic. Guitar bridge. Strings. Chorus. Great lyrics about two lovers. "Comedy" is slower, with strings. Nice guitar outro. Again, optimistic about someone pulling him through. "When you cry it pulls me through." The next two songs "Pull Together" and "Beautiful" sound more like the pop-side of Oasis. Both songs soar. "Lend's Some Dough" may be the happiest song I've heard about drugs... kind of Beatles-esque. The second half of the album incorporates some pyschedelia and prog. In "Streets of Kenny" he's searching for drugs. Pyschedelic and prog, it kind of reminded me of the Moody Blues. Pyschedelic ending with dual lead guitars. " I Want You" moves back to more pop. Lyrical references to ships, kings, queens and Merlin. Very Love-sounding with the pyschedelic guitars. The album ends kind of sad with the song "Daniella," unlike the rest of the album. Acoustic guitar. He lost his friend Jack. Wow, I think I made the most band references in anything I've written but Shack created music that is their own. I've like everything I've heard from Mick Head both previous with The Pale Fountains and subsequently. This album is no exception. I can see why his music is revered by many.

No need for a coffee wake-me-up this morning. "(GI)" is the only studio album from the LA punk band The Germs and it is often considered the first full hard-core punk album...GI standing for Germs Incognito. Oh, and it rocks in a pretty relentless way. The album was produced by no other than Joan Jett as the band were big fans of The Runaways. The band consisted of the charismatic (in a hardcore punk way) lead singer Darby Crash, Pat Smear (guitar, he might have been in a few subsequent bands), Lorna Doom (bass) and Don Bolles (drums). The music is pretty much straight-forward hard-core punk..the musicians are top-notch for what they are playing and Darby is unique with his sneer and lyrics. And the lyrics appear to be pretty autobiographical and sometimes political although I'm not sure if it's serious or tongue and cheek or both. This music is very influential; I hear early Husker Du and just about every other hard-core punk band. The album kicks off and the stage is set with the 43 second "What We Do Is Secret." Here's the Incognito. "Communist Eyes" is just a great hard-core song..thumping bass, Smear's guitar, Darby's sneer. Seeing through the Communist eyes. Hard to tell if he's serious or not but he compares it to a double-edge sword and suppression. "Lexicon Devil" might be their biggest song. Kind of a classic rock guitar riff. Has to be autobiographical with a leader making people believe anything with words. "Manimal" is slower and more in the heavy metal category, at least in the beginning. Humans have the power to nature and destroy. The second side starts with "Media Blitz" and comments on media control. "The Other Newst One" is the closest thing to a pop song. It's slower..very Ramones-esque. The band goes horror and Black Sabbath at the end with "Shut Down (Annihilation Man)." This nine-minute long song was recorded live in the studio. Darby brings all his evil out and comments on Joan Jett, Sid Vicious and a lot more. An appropriate way to the end. The first time I came across The Germs was in the film "The Decline of Western Civilization" which prominently featured Darby Crash. I think I went immediately out and tried to find a Germs' album. I need to watch this again. (GI) is a great and influential album. I actually think The Germs were one of the highlights of western civilization in the 20th century...there was a lot worse.

Kaboom and Hell Yeah! Let's keep the party going and kickstart the weekend. And that's exactly what Motörhead does on "Ace of Spades," their fourth studio album: their most commercially successful one and US debut release. My second relentless album in a row after The Germs. This album is considered the proto-type for thrash, equal parts metal and punk. That pissed off their lead singer and bassist Lemmy Kilmister who said it's just rock and roll. However, you classify, it just rocks. I do hear a lot of Deep Purple cranked up a couple of notches with the speed. It was produced by Vic Maile who tried to translate the band's live act to vinyl and he nailed it. Besides Lemmy, Motörhead consisted of "Fast" Eddie Clarke on guitar and Phil "Philthy Animal" on drums. All great rock and roll names - check. The album cover is an ode to Western movies with each of the band members dressed as famous actors who played in Westerns. Let's not waste getting this going with "Ace of Spades," Motörhead's biggest song. Great guitar intro, searing guitar solo and Lemmy's voice. Lemmy uses gambling as metaphors for living life hard. "I don't want to live forever." "Love Me Like a Reptile" is one song that reminded me of Deep Purple with its more heavy metal guitar. The pace is kept fast though. The lyrics compares love/sex to lizards, black mambas, rattlesnakes and electric eels. The first side ends with "(We Are) The Road Crew" which is a tribute to their roadies. My head is now in consistent bob motion. Driving bass and drums. Two absolute stud guitar solos. The second side continues the musical barrage with "Fire, Fire" and "Jailbait." Both songs about women and sex. "Bite the Bullet" takes the title track to another speed level. Bye, bye Deep Purple. "The Chase is Better than the Catch" slows it down a bit but continues the theme. "The more I get the better it is." "The Hammer" ends the album in proper thrash fashion. "Believe me the hammer is coming down!" It's too bad if the only Motörhead you know is the song "Ace of Spades." This whole album is exhibit A as to why you need to listen to more and more. I need a cold shower now.

"Court and Spark" is the sixth and most successful studio album from Joni Mitchell. The album is a break from her more folk music and into pop and jazz. I agree with the pop and jazz and also kind of has a Steely Dan feel to some of the songs, probably since her guitarist Larry Carlton performed on a number of future Steely Dan albums. She had an increased interest in jazz and spent a lot of 1973 writing and recording the material for the album. Other notable musicians who contributed to the recording were jazz bands The Crusaders and Tom Scott's LA Express, Robbie Robertson, David Crosby, Graham Nash, José Feliciano and Cheech and Chong (yes them). The lyrics are outstanding and deal with love, loss and general human observations. The album begins with "Court and Spark" and a jazzy piano with subtle guitar, chimes and horns in the background. It's a man changing his ways, the woman falls for him but ultimately doesn't trust him. The band the LA Express gives "Help Me" a bigger jazz feel with horns and guitar. It was/is Joni's biggest single. Needing help to feel good but reluctant to fall in love too fast. Another instantly recognizable and one of my favorite Joni songs is "Free Man in Paris" supposedly about music agent/promoter David Geffin and his finding peace in Paris. It's a little lighter musically with acoustic guitar and backing vocals by David Crosby and Graham Nash. José Feliciano on the guitar. A highlight on the second side and album is "Down to You." It's slower with piano, multiple horns and just great backing vocals (David Crosby and Susan Webb). It won a Grammy for best arrangement accompanying vocalist. An introspective on life..loneliness, losing someone, life going by. "Raised on Robbery" was the first single and is a more rockin' song with Robbie Robertson on guitar. The song actually sounds like a mix between The Band's "Cripple Creek" and the 70's theme from "Saturday Night Live" with the guitar and horns. It's about a prostitute telling her story to a man in a hotel. Joni used very decphired lyrics to get this to be a released single at that time. The album ends with the cover of Wardell Gray and Annie Ross' 1952 jazz song "Twisted." A good example of how good Joni could sing jazz. Some pretty funny lyrics about everyone telling her she's going crazy and she's telling them they're going crazy. And of course, this is where Cheech and Chong make their contributions. This album makes me want go back and re-check out the 1970's Joni Mitchell. It's been awhile for me but this album sounded great and not dated at all.

"Snivilisation" is the third studio album from the British electronic duo Orbital which consisted of brothers Phil and Paul Hartnoll. Other descriptors of the music are techno, ambient techno and IDM (intelligent dance music). For this style of music, I thought the songs were original with different dance beats, samples from movies and songs and a musical variety between and within songs. Also relevant is the fact that this album was released at the time of the Criminal Justice Act which gave the British police more power to break-up unlicensed raves. And there is a song on that. The album kicks off with "Forever" and voice samples and ambient music. It gets more upbeat but is still pretty chill. Complex keyboards and melody. "Sad But True" features Alison Goldfrapp on vocals. This has more of a dance groove and is hypnotic in a creepy sort of way. Weird keyboards and noises. No, not a Metallica cover. "Philosophy by Numbers" samples a chemistry experiment from the 1951movie "The Man in the White Suit" and it sounds pretty cool like bubbles and dogs barking. Worth listening to the song solely for that. "Are We Here" is the second song featuring Allison Goldfrapp and here her vocals and backing vocals are used extremely well. The drum beat is rapid at time and sometimes sounds like a drum line. A sample of the Specials' "Man at C&A." Four minutes of silence in the song to protest of the Criminal Justice Act. There is a lot to listen to at 75 minutes long but the duo does a good job mixing things up to keep it interesting. One of the better albums I've heard in the electronic music genre and I can see its inclusion in the 1,001.

"We're Only in It for the Money" is the third studio album from The Mothers of Invention. It is a concept album satirizing left and right-wing politics especially the hippie subculture and The Beatles "Sgt. Pepper's Lonely Hearts Club Band." Why not? The original album cover which is now the album cover but on the initial release was not the album cover parodies that Beatles album including the band dressed in drag. At times, this album is hilarious. As with all Frank Zappa albums that I've heard, there is a lot going on. Voices and noises from everywhere, multiple instruments, time signatures, spoken word songs, telephone conversations, etc. The music is classified as experimental, rock and psychedelic. Hard to classify Frank. This album was the first album in a project called No Commercial Project which included the next two Mothers' albums and a solo instrumental Zappa album. It is included in the National Recording Registry for its "culturally, historically, and aesthetically significance" and "a scathing satire on hippiedom and America's reaction to it." "Are You Hung Up" starts things off with various people talking including a stuttering Eric Clapton. This song rolls into "Who Needs the Peace Corps" which is a satire of the hippie culture. Very funny. Sort of pyschedelic Indian-sounding music. "Absolutely Free" begins with a piano and then goes into a waltz with a harpsichord and various sound effects. Another song criticizing hippies and the Summer of Love. Next is "Flower Punk" and it is just great. It parodies garage rock and is a carnival version of Hendrix's "Hey Joe." The distorted vocals are hilarious sounding like the lead singer was huffing helium throughout. On the second side is "Let's Make the Water Turn Black" probably the song I've heard most from this album. Frank sings like a teenager/kid and it's about two kids he grew up with: how they fart, pop pills, go in the army and make alcohol with raisins turning the water black. On "Lonely Little Girl" you finally hear a Zappa electric guitar. The music and vocals kind of go pyschedelic. Definitely 60's sounding. "The Chrome Plated Megaphone of Destiny" ends things with a piano and various noises - musique concrète - recorded sounds modified through audio techniques into a song montage. A very Frank way to finish. This is one of those albums that if you like Frank you'll like it and if you don't you won't. The parody started wearing thin on multiple listened but was initially hilarious. There's always enough going on experimentally with Zappa's music to appreciate a lot.

"A Grand Don't Come for Free" is the second studio album by English rapper and producer Mike Skinner known as The Streets. This is a rap opera and concept album about a guy having a relationship with a girl named Simone and the mysterious loss of £1,000 (the grand). Skinner talks, raps and sings and is a strength as he tells the story. There is also a very nice job matching the music with the story. "It Was Supposed to Be Easy" starts things off with dramatic horns, a slow drum beat and tells how our man lost his Grand and found his TV broken. "Could Well Be In" has a piano and a soulful feel. More uplifting as he begins his relationship with Simone. "Not Addicted" gives a more rap feel as he tries to get back his money by gambling. The third-released single "Blinded By the Lights" has synths which create a pyschedelic and paranoid atmosphere. Our protagonist gets drunks, takes ecstasy and thinks he sees Simone kissing his friend, Dan. The second single, "Fit But You Know It," speeds things up with the music and more of a rock beat. He's trying to impress a girl as he was kicked out of the house by Simone in the previous song. "Dry Your Eyes" is my favorite song on the album. Strings, acoustic guitar. Great singing and lyrics. A sad song as Simone breaks up with him. The album ends very originally with "Empty Cans" and two possible endings. Very suspenseful synths/keyboard. In one scenario, he gets into a fight with TV repairman and that's it. In the other one, he entually finds his grand behind his broken TV. I liked this album quite a bit when it came out. It still sounds good. The music is focused to the story. It might not be as musically adventurous as other albums in that genre but it still works for me.

The 1,001 randomizer granted me my wish for more 1970's Joni Mitchell rather quickly. "Hejira" is the eighth studio album from Joni Mitchell. The album was written during a series of three road trips in 1975-1976 including one as a member of Bob Dylan's Rolling Thunder Revue. The music is jazz-inspired and the best descriptor I saw was jazz-pop; she had distanced her music from what I would classify as folk. Many of these sprawling songs are about severed relationship including one of hers with drummer John Guerin. The music is guitar-driven, acoustic and electric, (as opposed to a piano). Joni also met fretless electronic bass player Jaco Pastorius during the writing and recording and he adds just great playing and a jazzy atmophere on four of the songs. Hejira is a transliteration of the Arabic word Heira or Hijra referring to the migration of Muhammad from Mecca to Medina; Joni used it to reference/describe "running away with honor." "Coyote" starts things off with guitar, percussion and Jaco's subtle bass. Great free-flowing lyrics. It's about a one-night stand with a ladies man; many say it's about Sam Shepard whom Joni had a fling with. One of my favorite Joni songs. "Amelia" is a slower song. Electric guitar. Vibraphone. A beautiful and sad song. It was inspired by her break-up to drummer John Guerin in the desert. Imageries of airplanes in the desert and Amelia Earhart disappearing. Another great and melancholy song is "Hejira" which Joni said was her toughest song to write. It accounts her reasons for leaving Guerin. Jaco's bass adds to the atmosphere. "Songs for Sharon" begins side two and it's about a woman deciding between freedom and her marriage. Allusions to Joni's break-up and road trips. "Black Crow" almost sounds like a fusion; the electric guitar reminds me of the Woodstock era which is justaposed with a clarinet and Jaco's bass adding a jazzy element. Great song! "Refuge of the Roads" finishes things in sprawling fashion with a song about Joni's trip to a Buddhist meditation which she attributes to helping kick a cocaine addiction which she was battling during the recording and writing of this album. This is an excellent album. It seemed very personal and autobiographical. The emotion carries through. It just added to my quest for re-visiting all of 1970's Joni Mitchell.

"Brothers in Arms" is the fifth studio album by Dire Straits. This album was a huge success (#1 in UK-14 Weeks, #1 in US- 9 weeks). I think MTV and a song might have contributed to that. The album was recorded in Montserrat on a Sony 24-track digital recorder, mixed on an analog board and was geared toward the CD market. (There was some additional recordings in NYC due to tapes being lost). I do remember that back then and the album sounding really good. There have been many reissues and re-mixes of the album from the original digital and analog tapes. At this point, Mark Knopler (lead singer, guitarist) and John Illsey (bass player) were the only band members remaining from their first album. They added a couple of keyboardists, a drummer and additional guitarists. Classified as pop rock which fits. Initial UK reviews were negative citing Dire Straits as selling out for stadiums. US reviews were more positive. Yeah, I guess I have a mixed view on this album too; I appreciate the technicality and nothing offends me even though it was played a lot...a lot. But, I can't say I've gone back to listen to it. This album also won multiple Grammy's. Five singles were released on this album with the first being the first song "So Far Away." Clean guitar, keyboards added in a slightly slower rock pace. About missing someone. Simple. Enjoyable enough. And then we come to the MTV mega-hit "Money For Nothing" written and performed with Sting. Knopfler got the lyrics being in a NYC appliance listening to an employee comment while watching MTV. Some of these lyrics would obviously have to be changed if released today. I think I bought the album because of this song. I've always kind of liked "Walk of Life," a happy song. Organ/synth-keyboard melody. It's about a musician busking and an ode to the oldies. I think "Your Latest Trick" might be my favorite song on the album. The last single released too. Trumpet. Sax. Jazzy. A sort of bossa nova beat. It almost sounds like Sade. The song was intended for their previous album "Love Over Gold." The second side gets a little more serious with three of the four songs about war/soliders. "Ride Across the River" has a tropical beat, pan flute and horns. A bluesy guitar. About a solider mercenary. "The Man's too Strong" goes country with its guitar. The story is about a soldier having fear of showing any weakness. "Brothers in Arms" was the third single released and is the last song on the album. The keyboards, organ and guitar again give a blues feel. This song is a commentary on the senselessness of the Falkland War. My favorite Dire Straits is probably their previous two albums, "Love Over Gold'" and "Making Movies." This particular album was so big, all over the radio and MTV. I got the album when it came out and really haven't listened to it since. Nothing wrong with it. I guess it is surprising how big it was and the last of anything really significant from Dire Straits; they initially broke up a few years after the release of this album.

"Meat is Murder" is the second studio album from The Smiths and the only one to reach #1 in the UK. The Smiths and Stephen Street produced this album which introduced some rockabilly and funk. Some of the lyrics are political although Morrissey does a good job on a number of these songs leaving the lyrics open for multiple interpretations. Similar to their next album "The Queen is Dead," this is the music of a complete band with each member standing out at times. A very, very good album. The album starts strong with "The Headmaster Ritual" and a Echo and the Bunnymen guitar which transitions into more traditional Smiths. Morrissey is getting bullied by his headmaster. He also gets his yodeling going...not the last time. "Rusholme Ruffians" has a rockabilly and funky sound with the bass. Based on the Victoria Wood song "Fourteen Again." "The Joke isn't Funny Anymore" slows things down with a waltz time and acoustic rhythm guitar. The lyrics attack the mockery of depression and suicide. Not the last waltz either. "Barbarism Begins at Home" is my favorite song on side two. Johnny Marr has an obtuse and almost Chic-like guitar. Great bass. An anti-child abuse theme. "Meat is Murder" ends things and expresses Morrissey's vegetarian stance. It's slower and yes a waltz. This album is up there for me with "The Queen is Dead" as The Smiths' pinnacle. Both albums are worth getting, listening to and being in the 1,001.

"Rattus Norvegicus" is the debut album by the English band The Stranglers hailing from Guildford, Surrey. It was also one of the highest selling punk-era albums in Britain. Although, besides punk rock, I see classifiers such as New Wave, pub rock and art rock. And you know what? They all fit. When you're led primarily by an organ/keyboard, I think you can slide into many a category. This album is quite good, recorded in six days trying to capture their live act. The title is the taxonomic name of the brown rat and in one reference an allusion to The Black Death (although it was not caused by the brown rat). Thr album title was going to be called Dead on Arrival (record company didn't like) and IV is on the cover which I would have thought was the title. "Sometimes" gets things going. This is a unique sounding song: Organ-melody driven, a more punk rhythm section and sort of a prog-rock sounding guitar. Lyrics are definitely edgy being about a violent argument with a girlfriend. I think the second song "Goodbye Toulouse" is my favorite on the album. More aggressive punk guitar with multi-tracking (I hear that same sort of guitar in Fucked-Up's "David Comes To Life"). Chunky bass. Great weird organ intro. Pop chorus. About Nostradamus' prediction on the destruction of Toulouse. On "Hanging Around," the keyboard have a roller rink feel. Another poppy chorus. About guys at the pub. They sound a lot like The Cars here. Side B begins with their two singles released from this album. "Peaches" is bass driven and with the keyboards and sort of slash guitar riffs has a "Watchng the Detective" vibe. Nothing messing around with the intent: "Walking on the beaches looking at the peaches." "(Get A) Grip (on Yourself)" is fast paced with the rhythm and a unique organ/keyboard chorus. About the band's life. The album ends with "Down the Sewer" which has four parts. Nice guitar solos, prominent bass, organ melody. Almost prog sounding and structure. Based on the TV drama "Survivors" where people from the country move to a city where all they find are rat-driven sewers. The only Stranglers' song I remember is "Skin Deep" which I liked quite a bit. This is a really good album and I will definitely be checking out more Stranglers' music.

"Tidal" is the debut album from then 19-year-old Fiona Apple. She actually wrote one song when she was fifteen. The lyrics were inspired by a break-up with her first boyfriend. What a break-up that must have been. She was compared to Alanis Morissette and Tori Amos at the time . I don't think that comparison would be made today. The music is classified as art pop and jazz fusion. That works for me. There's a t of dramatic piano and vocals. Six singles were released with "Criminal" receiving a Grammy for Best Female Rock Performance. "Sleep to Dream" start things off with her soulful, forceful vocals and dramatic piano/synths. Fiona is being independent and telling a guy to get lost. "Shadowboxer" is one of my favorite Fiona songs. Slower. Great lyrics and vocals. About a former lover and a way of preventing falling for someone who will do you wrong. "Criminal" has a darker start with the keys, piano, bass and drums. She's doing the wrong here. "The First Taste" has a more jazzy, poppy, R&B and almost Caribbean feel with the percussion. "Never is a Promise" is the song she wrote at 15. It's more classical sounding with the piano. This is a very good album with a few very high- end songs in "Criminal" and "Shadowboxer." Fiona continues to put out great music and albums especially her last two. She doesn't put them out often but when she does, there worth a listen. This was a great start to a great career so far.

"Graceland" is the seventh solo album from Paul Simon. In 1984, Paul was in a period of depression with a deteriorating relationship with Art Garfunkel, a collapsing marriage with Carrie Fisher and the commercial failure of his previous album "Heart and Bones." He became fascinated by South African music from a bootleg cassette and visited South Africa for two weeks recording with South African musicians. This and the whole album were quite the controversy as he was breaking the United Nations' cultural boycott of South Africa due to apartheid. He also received a lot of criticism for using Linda Ronstadt as a backing vocalist due to her playing a few years back in Sun City. Additional recording was also done in New York City. Well, musically this is a mixture of pop, rock, a capella, zydeco and South African isicathimiya and mbaqanga. Caribbean too. It is bass-driven with the outstanding playing of Bakithi Kumalo. Outstanding backing vocals too. Quite an album. It was Paul's most successful album, won the 1987 Grammy for best album and was added to the US National Recording Registry as "culturally, historically or aesthetically important." "The Boy in the Bubble" gets things going with an accordion and that bass. Elements of both South African and zydeco music. It's about starvation and terrorism but there's optimism to lighten it up a bit. The bass continues to star on "Graceland" along with some unique guitar and steel pedal. The Everly Brothers on backing vocals. The song is about his break-up with Carrie Fisher. I did not know that. "I Know What I Know" is my favorite song on the album. That funky bass, rhythm and guitar. And the backing vocals by General M.D. Shirinda and the Gaza Sisters totally steal this song. Almost an instrument unto themselves. Playful Paul. Tremendous. The fourth single "Diamonds on the Soles of Her Shoes" ends the first side with great South African starting vocals and then contrasting and combining with Simon's. This song is also kind of fusion of South African and Caribbean with the horns. And speaking of horns, side two begins with the first single "You Can Call Me Al." Again, a South African and Caribbean music vibe. And, yes, immediately I think of Chevy Chase. About a mid-life crisis. "Under African Skies" is a very happy-sounding sound with Adrian Belew on guitar. Continued great bass playing. Linds Ronstadt on backing vocals good. "Homeless" is sung a cappella by Lady Mambazo and Simon introducing us to Zulu isicathimiya music. The global music journey continues to the end on "That was Your Mother" with backing zydeco band Good Rockin' Dopsie and the Twisters and "All Around the World or the Myth of Fingerprints" with Los Lobos. Each song bringing the backing bands' style of music. I think one of the great things about this album is that it sounds fresh and great today as it did back then. When it came out, I really didn't get into the politics and stayed away today commenting just focusing on the music which is great.

"Five Leaves Left" is the debut album from English folk musician Nick Drake. The album was recorded at Sound Techniques in London and when strings were used, Nick uniquely played his acoustic guitar live with them, no overdubbing. On some other songs, he had help from a few famous musicians such as Richard Thompson (guitar) from Fairport Convention and Danny Thompson (double bass) from Pentagle. His friend as a youth, Robert Kirby, did much of the string arrangements. Compared to his next album "Bryter Layter" which I had a month or so ago, this music is more sparse, melancholy but still quite beautiful; you can just about hear every note played with really an acoustic guitar or piano accompanied with either strings, electric guitar or drums/percussion. The lyrics use imagery, may be some double-meaning and appear mostly autobiographical. The title refers to the old Rizia cigarette papers pack which had a printed note inside which said "only five leaves left." Well, I did learn something today. Nick's acoustic guitar and melancholy voice starts "Time Has Told Me." Richard Thompson adds some exceptional electric guitar giving this song a country feel. Nick struggles with wanting and not wanting fame. Strings along with Drake's acoustic guitar are added to the eerie "River Man." Nice Baroque pop. Is it about death? Suicide? Is the river man the guide for river Styx? The third song "Three Hours" slightly changes the style again as a double bass (Danny Thompson) and congas are added to the acoustic guitar. Kind of an important-feeling song. Nick's friend Jeremy is searching for the meaning of life. Nick displays some great guitar finger-picking on the first song of the second side "'Cello." Great lyrics as he feels like he should have nothing to fear but then the night comes. "The Thoughts of Mary Jane" is more upbeat and happy. Nice strings and a flute. Simple, I think, about a girl he loves. Paul Harris adds some great piano giving "Man in a Shed" a jazzy and poppier atmosphere. Another love song about being in love with a girl too good for you. The last two songs "Fruit Tree" and "Saturday Sun" are both beautiful songs with great lyrics but also being quite in the melancholy vein. As previously mentioned a few months ago, all three of Nick Drake's albums are worth listening to. I guess this one would a good place to start.

"Music for the Jilted Generation" is the second studio album by the English electronic band The Prodigy. At this point, The Prodigy consisted of Liam Howlett (synthesizers, keyboards, drum machine, mixing, engineering) and Maxim Reality (vocals, writer). Their electronic music uses elements of rave, techno, breakbeat techno and hardcore techno. I'd have to really dig in to find exactly what the differences between those styles are but this music is fast paced with a variety of samples, noises, synth sounds and different beats. No lead singers...that would come. It is quite interesting I must say. Although denied by Howlett, the title and some of of the songs are thought to be directed at the corruption of the UK rave scene by the mainstream and the Criminal Justice and Public Order Act 00 unlicensed rave parties. The album was nominated for UK 1994 Mercury Prize (best UK album). The first song to catch my attention was "Break & Enter" with its fast drum beats, sounds of glass breaking and ominous keyboards. It morphs into more of a dance beat. Nice keyboard chorus. The third single "Voodoo People" begins a spacey guitar using Nirvana's "Very Ape." The drum beat sounded like The Prodigy I would hear on their next album. It samples Johnny Pate's "You're Starting Too Fast." The fourth single "Poison" has mechanical sounding keyboards, other weird keyboard sounds, someone yelling "ya" throughout, someone saying they have the poison and the remedy and changing dance beats. A lot going on. Cool sounding song. The second single "No Good (Start the Dance)" had lasers sounds starting it off. The fast pace continues. Vocal samples of Kelly Charles' "No Good for Me." This song reminded me of some of the DJ sets I've seen at Perry's Tent at Lollapalooza...very repetitive, very techno. The techno continues on their first single "One Love," a very similar style to the previous song. Repetitive and weird keys, a Prodigy-sounding drumbeat. I would have said initially that this sounded of its place and time in the 90's and I think it still does but I do hear a lot of this in today's EDM. I was expecting more "Firestarter" type songs. Some pretty serious techno. It does suffer from the CD era clocking in at a long 118 minutes.

"Shaka Zulu" is a studio album (I believe it is their 24th) from the South African male choral band Ladysmith Black Mambazo. The South African musical style is called isicathamiya which is best described by the European style a cappella. This album followed their collaboration with Paul Simon on his album "Graceland" and was actually produced by Paul Simon with assistance from Ladysmith Black Mambazo founding member Joseph Shabalala. This album is quite good. An album that lifts up your spirits. Great harmonies. The band recorded some older Mambazo songs as well as some actually in English. The album was the bands' first international hit and won the 1988 Grammy for Best Traditional Folk Recording. "Unomathemba" begins things and the first thing you notice is the beautiful harmonies. It is happy sounding. They're laughing. They're keeping the rhythm with their feet stomping. The second song "Hello My Baby" is sung in English. There's kissing sounds. There is chanting. "Lomhlaba Kawawunoni (The Earth Never Gets Fat)" is one of my favorite songs on the album. Just beautiful harmonies. Sung in their native Zulu language. The album ends with "Wawusho Kubani? (Who Were You Talking To?)." More chanting. Hands clapping adds to the rhythm. Another song highlight. One of my favorite things about doing this challenge is coming across albums that you haven't heard before and you like. This album definitely is one of those. And if anyone likes the Paul Simon "Graceland" songs "Homeless"and "Diamonds on the Soles of Her Shoes" you'll probably like this since Joseph Shabalala was featured prominently in those songs.

"Playing with Fire" is the third studio album from the English neo-pyschedelia space rock band Spacemen 3. The two main members of Spacemen 3 were Pete Kember "Sonic Boom" who went on to produce indie bands and Jason Pierce "J Spaceman" who went on to form Spiritualized. Well, forget what they went on to do for the time, this here is quite the album with some very high, high points. The music is pretty much an intersection of The Velvet Underground, The Stooges and Suicide. Yet, it is their own, almost a genre unto itself. Spacey keboards/organs, multi-layered guitars. Yes, I'm in. "Honey" gets things going with an organ giving a church feel (not the last time). A slow guitar repetitively playing one note a la The Velvet Underground. Spacey keyboards. Distorted lyrics. A love song. Alright, let's go and wake me up on song five, "Revolution." This is hard rock...distorted guitars, drums. The lyrics obviously mimicking The Stooges..."I'm sick. I'm tired." A song promoting drug use. Getting told what to do by people and the government and fed up. Ends in guitar chaos. A brilliant song. Let's continue the brilliance with "Suicide," an 11-minute ode to the band of the same name. Distorted, reverbed guitars. Repetitive noises and beats. A repetitive drone sound. This song reminded me of what Spiritualized would become. Great guitar end. The album ends with another great song "Lord Can You Hear Me." A very soulful and spiritual sounding song and a cry to God for help. At first I thought I was listening to R.E.M.'s "Everbody Hurts" with the slow guitar. A fitting ending. Being a a fan of The Velvet Underground, The Stooges, Suicide and Spiritualized, it was pretty obvious that I would be a big fan of this album. The songs that I mentioned are some of my favorite songs of the 1980's. A very high album recommendation from me.

"Californication" is the seventh studio album from The Red Hot Chilli Peppers and marked the return of guitarist John Frusciante and to more funk-based rock from former guitarist Dave Narravo and the heavier album "One Hot Minute." It was produced by Rick Rubin and was recorded in three weeks. The music is softer and more melodic and deals with themes in drugs, death, sex, suicide, California and travel. I admit to not being the biggest RHCP fan but I did like this quite a bit when it came out. I did get tired of some of the songs since they were played a lot on radio but this sounded great today. The band and music are very tight. The album starts strong with four RHCP classics. A guitar distorted solo starts "Around the World" which goes into the Peppers' more funk-based music. It's about traveling. Is Kiedis with one girl traveling around or hitting it off with various women? Or both? Flea's bass just rocks "Parallel Universe." Just bad ass. Daydreaming or about an out of body experience? Kiedis gets serious on their biggest album hit "Scar Tissue" with the consequence of using drugs. Very melodic. Maybe the most recognizable RHCP guitar riff and solo. And maybe one of the most mis-interpreted lyrics in "with birds I share this lonely view." I had no idea what he was saying at first. The drug theme and the melody- based music continues on "Otherside." It's slower but builds...about drug use and in particular about the overdose of their former guitarist Hillel Slovak. Kiedis makes it personal about himself. Their fourth single "Californication" is more of a ballad. According to the band, this was the hardest song to complete. Excellent guitar -slide, the intro and solo. The fake nature of California. The album ends with their fifth and last single "Road Trippin'." This a unique RHCP song with its acoustic guitar, strings and slower pace. Kiedis is traveling with friends and leaving town on the road. I haven't dug into all the Chlli Pepper albums very deeply. This is one that I had and is my favorite. It sounded great today and I was skeptical if it held up. I think time away from some of the hit songs helped. It does suffer from the CD era clocking in at nearly an hour and I do have some issues with the mixing, particularly the volume and drums. Overall though, a very good album.

"Yippie ai yippie aiay!" One of my more favorite nonsensical lyrics in a song. "The Lexicon of Love" is the debut album from the English pop band ABC. New Wave, synth-pop and spohisti-pop are also descriptors. The band's ambition was to fuse punk and disco. I hear the disco. But, I'd say this it is more a pop album. The album was produced by Trevor Horn and the orchestration arrangements by Anne Dudley who would go on to form Art of Noise. I hear that in the way the songs are constructed; one of the strengths of this album is the detailed placement of multiple instruments (keyboards, synths, strings, horns) throughout each of the songs. Very well-crafted. The band consisted of Martin Fry (lead/backing vocals), Mark White (keyboards, guitar), Stephen Singleton (alto/tenor sax) and David Palmer (drums/percussion). Fry denied this was a concept album as for the most part each song is about heartache in a relationship. Yeah, if this is autobiographical, Marty had had a pretty rough go in the love department. A grandiose, lush orchestration with strings and horns begins "Show Me" which slides into a bass-heavy dance/pop beat. You can already hear the top-notch production. He wants his girl to show him they're serious. The second single and song "Poison Arrow" continues the great pop production and sound. Keyboards. Horns. Strings. Great chorus. A Girl broke his heart. "Tears are not Enough" was the lead single and there's jangly guitars, horns and more of a disco/dance beat. Interesting keyboard bridge. Tears are not enough for Marty not to break up with her; he doesn't love her anymore. Marty continues his misery on the fifth album single "Valetine's Day." This song kind of grooves. More music, less singing. Great use of keyboards in the chorus. He's looking back at the wasted time with his girl. Their biggest single "The Look of Love (part one)" opens the second side. Another grand intro that builds. That classic-pop groove. Marty's getting suckered in by her looks. He can't find love. "All of My Heart" might be my favorite song on the album. It's lighter sounding. Great strings in the middle and end. He goes falsetto and this is his most impassioned singing. Hey, it's hopeful sounding as he wants his girl back. This is a very well-crafted and produced albums. Really no bad songs. On the 80's station I listen to (First Wave), I hear "Poison Arrow" and "The Look of Love" all the time so at least these songs have stood the test of time and remain quite popular to the 80's crowd.

"Pretzel Logic" is the third studio album by Steely Dan. It was written by Donald Fagen and Walter Becker and besides those two would be the last album to feature members Jeff "Skunk" Baxter (guitars), Denny Dias (guitar) and Jim Hodder (drums but he didn't play much on this album). It was recorded in LA and there were a lot of other guest studio musicians. It was also the last album the band would tour. The music itself had shorter songs than their previous albums. The one thing that is a strength of this album is the wide variety of styles they play: pop, jazz, blues, that California laid- back rock and even country. The lyrics and story telling is also a strength. Their biggest hit and first single "Rikki Don't Lose that Number" opens with that piano line. The songs goes from pop to blues to jazz. Jim Gordon's drums are great. It is actually about Becker's crush on the pregnant wife of one of his professors. This song along with "Band on the Run" is probably the first songs I can remember when they came out. "Any Major Dude Will Tell You" has a groovy piano, jazzy guitar and a California sound. Plus, it might be only song to mention the mythical creature the squonk. The singer is consoling one of his friends who is going through tough times. "Parker's Band" begins the second side and is about going and listening to Charlie Parker. Is it also about doing drugs (heroin)??? Jazzy guitar. Charlie Parker-influenced riffs. "Pretzel Logic" was the other album single and is more bluesy rock with some funk. Great pedal guitar. Time travel is mentioned a lot. Also, the bands' distate for touring. I didn't know Steel Dan had country in them but they did here and it's one of their best songs on the album in "With a Gun." Country slide guitar. One of the best stories about a founder of a clinic which he steals from, murders someone and is on the run. Another hidden highlight is "Charlie Freak" with its intricate piano and droning guitar giving an eerie feel. And it should given the song tells the story of a drug-addict who sells his last possession, a gold ring, to buy what would be his last fix. I enjoyed this album again; it had been awhile since I listened to it. I don't know if I could ever really rank Steely Dan albums but this one would be near the top. The variety of styles is quite impressive.

"School's Out" is the fifth studio album by Alice Cooper. Some have called this a concept album about youth lost when leaving school. I'll agree with that; most these songs are stories/themes about being in school, leaving school or reminiscing about school. The original album sleeve opened like a wooden desk with a record wrapped in panties...had to be changed due to flammability. I would have bought it at the time. Besides the self-titled song, I thought the album and songs were just OK. Lots of styles here though...jazz, classic 70's rock, some prog and country. It's interesting that the original band line-up and later Vince Furnier (aka Alice Cooper) versions of the band rarely played any songs from this album beside "School's Out" live. This album was a big success..No. 1 in Canada, No. 2 in the US and the "School's Out" reaching #7. The album begins with the iconic classic song "School's Out" and its intro guitar riff. Furnier's (Cooper's) screaming. Nice chorus with the kids. A no doubt rock anthem. "Luney Tune" is more garage-rock sounding, almost early Zappa-esque. There's orchestration. A weird story here (maybe for its shock value)...a person going insane, there's razor blades and blood. "Gutter Cat vs. The Jets" is sort of an interesting dramatic song and a take on The West Side Story with two gangs and a girl. Keyboards. Horns. Bass. The second side opens with "My Stars" and its grand guitar intro (prog-ish maybe). A classic 70's song structure and sound with lead and rhythm guitars. Bells. Piano. He's not living up to his family expectations. This song could have been a hit...maybe. "Alma Mater" tilted it for me on the teenage concept album. He's feeling depressed and reminiscing about leaving school. This is a pop song...some early 60's doo-wop. It ends with a country "happy trails" guitar. Back in 1972, if I was old enough, I would have gone to see Alice Cooper for their theatrics, stage show and the song "School's Out." I'm not sure anything else stands out on this album. Nothing bad just nothing making me want to jump out and buy the vinyl or even dig deeper into the Alice Cooper catalog (which I believe I'll have to do in the future anyway).

"A Love Supreme" is an album by jazz saxophonist John Coltrane recorded at Van Gelden Studio in New Jersey. It was also recorded in one session by the quartet of Coltrane (tenor sax), McCoy Tyner (piano), Jimmy Garrison (bassist) and Elvin Jones (drummer). The album is a through-composed suite which is a continuous, non-repetitive ordered set of musical pieces/parts. In this this case, four parts. This is obviously spectacular and considered Coltranes' masterpiece. The jazz is classified as modal jazz, avant-garde jazz, free jazz, hard bop and post-bop. It was also included in the National Recording Registry for its "cultural, historic or artistic" significance. Part 1: "Acknowledgement" begins with a gong and cymbals sounding almost like the ocean. There's a bass motif which turns into a "Love Supreme" chant. Both sax and piano solos. Part 2: "Resolution" enters with a sax solo which goes to a piano solo. Excellent and explosive drumming. Exceptionally explosive sax too. Speaking of explosive drumming, Part 3: "Persuance" begins with 1:40 extended drum solo. It then just bounces back and forth between sax and piano solos before going to another drum solo. And finally we get the bass solo. I'm a happy man now. In Part 4: ""Psalm," the band comes together with a smooth and sultry tone led by Coltrane's sax. The pace picks up slightly and becomes more dramatic ending with the drums. I am by no means a jazz expert but this is one of the best jazz albums I've heard. I like the way each song started differently. The band was both tight and loose giving each musician space in their solos and then finally coming together in the final part.

"I Never Loved a Man the Way I Love You" is the tenth studio album by Aretha Franklin and the first released under her Atlantic contract. She departed Columbia after nine disappointing jazz-standard albums. The album began recording at FAME in Muscle Shoals, Alabama and later finished at Atlantic Studios in NYC due to an altercation between her husband, a band member and the producer. Some might notice the difference in the two recordings due to tape recording speed discrepancies between the two studios. The album was a big success reaching #1 in the US. This album is worth listening to if just for Aretha's voice. What can you say? The album begins with the classic cover of Otis Redding's "Respect." Horns and a guitar intro. Outstanding backing vocals by three women which persists throughout this album. Aretha's forceful voice. Hard to not put this song up near the top songs of all time. A slower pace led by the piano fuels the soulful "Drown In My Own Tears." A Henry Glover cover. Aretha's soulful delivery! The first single was actually "I Never Loved a Man (The Way I Love You). More of a blues beat led by the organ, piano and horns. A lying, cheating man but she loves him nonetheless. A highlight of the second side is "Good Times." A Sam Cooke cover. More blues than soul. Guitar. No backing vocals. Aretha slows down her delivery in the excellent "Do Right Women, Do Right Man." A soulful ballad. Excellent backing vocals. Need to treat your women right. The album ends with another Sam Cooke cover, "A Change is Gonna Come." The original is such a good song and Aretha does it right. Slower, more soulful. I don't know if I've heard a better vocal performance than Aretha on this album. And, I don't know is this is breaking any new ground with music but Aretha takes this to another level. An album obviously worth checking out.

"The Visitors" is the eighth studio album from Abba and the last one before last years' "Voyage." The music was a move away from their more "lighter" pop to to something more complex and mature. Abba band members Benny Andersson and Anni-Frid Lyngstad (Frida) ended their relationship in 1981 and the other Abba couple, Agnetha Fältskog and Björn Ulvaeus, had divorced two years previous in 1979. The lyrics cover the end of relationships, isolation, regret and the cold war. Since I really haven't listen to their other albums (yet) I can't compare concerning the complexity but the lyrics are somewhat darker compared to "Dancing Queen" but nowhere near say a Nine Inch Nails. This music is fine....great vocals, production, lyrics. This was one of the first records digitally recorded and mixed. Ominous keyboards begin the first song "The Visitors" making it almost sound like a more-pop Gary Numan song. Frida's vocals are more muttled seemingly about secret police (USSR) taking her away. Also, Wilco must have been listening as there is a keyboard riff that sounds exactly like something off "A Ghost is Born." The second song and third single "Head Over Heels" marked the breaking of 18-consecutive songs making the UK top ten. An interesting and sort of mysterious keyboard intro and chorus progressing the song. About a high-society women exhausting her husband. "When All is Said and Done" was the second single and maybe my favorite song on the album. A happier sounding song. Great chorus and harmonizing. The pain of splitting up. Another ominous keyboards-sounding start to side two with " I Let the Music Speak." Orchestration is brought in. This sounds like a musical. About the power of music. The first single and the only song I previously heard is "One of Us." Kind of wobbly-sounding pop music. The end of a relationship, even though the woman wants to revive it. I guess I kind of got what expected: Well-produced, great harmonies, likable pop songs. I also did like some of the weirder keyboards and the lyrics were strong. I'll get at least one more Abba album in the future so that be interesting to compare beyond their hits.

"Maggot Brain" is the third studio album from Funkadelic and the last one with the original line-up. Pyschedelic funk. Funk Rock. R&B. Acid Rock. Progressive Soul. Yes, this is quite an incredible trip. And trip they did as George Clinton doesn't really recall making this album due to a certain something(s). Nonetheless, this is outstanding. Two guitar-heavy jams bookend this album with pyschedelic soul/R&B fusion nestled in between. Is the title the nickname of guitarist Eddie Hazel and/or the finding of George Clinton's brother's body in an apartment. Another myth/theme with the record includes an association with a satanist cult based on liner notes. Mysteries abound. George Clinton begins the song "Maggot Brain" with a spoken-word dialogue "the maggots in the mind of the universe" and then it goes into essentially a nine-minute guitar solo by Eddie Hazel. Fuzz. Wah-Wah. Guitar delay. It's dreamy, pyschedelic. Clinton famously told Hazel "to play like you were told your mother was dead" and boy did he. The second song "Can You Get to That" adds an acoustic guitar giving a folk/blues start and then kicks into soul. The "Hot Buttered Soul" singers from Issac Hayes anchor the song with some outstanding backing vocals. "I once had a life, or rather, life had me." A pyschedelic guitar-start to "Hit It and Quit It." A soul-drenched organ. An R&B rhythm section. Shake your booty!! Another mind-blowing guitar solo fades this song to an end. "Super Stupid" comes on like an Isaac Hayes song. Drums and pecussion give the groove. Pyschedelic organ and guitar. "Wars of Armageddon" ends things with nearly a ten-minute freak-out jam and guitar, drums, percussion, organ. Pyschedelic sounds including a baby crying, railroad guard noise, cows, owls, farts, thunder and other oddities end things appropriately. Some people may think that the first song is almost a separate album from the rest. I disagree especially with the ending song. I wouldn't change a thing. A highly original album. And a very high recommendation.

"It's Blitz" is the third studio album by the indie band Yeah Yeah Yeahs. It was received and pereceived as more dance-oriented. I would agree that the first two songs are very dance/disco-oriented but then the album goes more dramatic with the keyboards, guitars, drums and the lyrics appearing more personal in the remaining songs. This is a very good album. The music was written and recorded in the studio over a two month period which is unusual in that cost-crunching time frame. The Yeah Yeah Yeahs consist of Karen O (vocals), Brian Chase (drums, percussion) and Nick Zinner (guitar, keyboards, drum machine, bass). Their hit "Zero" gets the dance going. Synths, drum machine, hypnotic, classic Karen O. I love its chaotic ending. It's about escape. Be who you are; you're a zero so screw it. "Heads Will Roll" keeps the dance going but in an eerie way. String intro. In the video, a werewolf kills everyone including the band. Is there more meaning than just get on the dance floor? "Soft Shock" changes the dance party and is my favorite Yeah Yeah Yeahs' song along with "Maps." The synths are wobbly and again hypnotic at the beginning going into a great far-east type melody. Karen O's singing is great and about a relationship ending. The fourth song and third single "Skeletons" is again about a relationship ending. This is stark though with only wobbly synths in the beginning. The synths and drum machine change to almost a Scottish marching theme which ends in what sounds like a snowstorm. The drama builds eventually in "Runaway" with a slow piano beginning going into layered synths. She telling her man to runaway but wants him to stay. A second-half album highlight. "Hysteric" is the hidden gem on this album. Softer keyboards. Guitar. Drums. More tradtional rock song. Great keyboard melody later on. Karen's best singing and lyrics on the album, wanting her lover back. I have this album yet never really have listened to the whole album in depth. I was impressed. Not a bad song on the album and the songs get progressively more serious. A recommendation for this one and glad I bought it at some point in the past.

"The Blueprint" is the sixth studio album by American rapper Jay-Z. Of note, it was released on 9/11/2001 to combat bootlegging. It had quite a list of producers including Kanye West, Just Blaze, Blink, Timbaland, The Trackmasters and Eminem. The album was noted for being soul-centric and sample reliant which was a shift in rap at the time from more keyboard driven. Yeah, the sampling which is more soul-based and the lyrics are both excellent. High, high production levels here. The albums has received and continues to receive a lot of very high critical praise and the Library of Congress also selected it to the US National Recording Registry for its "cultural, historically or aesthetically" importance....the first album of the 2000's. Jay-Z comes out thanking everyone for their purchase on "The Ruler's Back." A soul intro. Free and easy sounding. The horns gives this almost a theme from "Rocky" vibe. "Takeover" just has some creative sampling. "Five to One" by the Doors with Jim Morrison screaming "Come on" and a distorted sample of David Bowie's "Fame" making it purposely sound like "Lame" as Jay-Z discusses rappers Prodigy (Mobb Deep) and Nas...lol. "Izzo (H.O.V.A.)" was the first single and samples The Jackson 5's "I Want You Back." Nice easy groove. Jay-Z raps about helping other blacks with his record label and how drugs ruin lives. The mood lightens up with the second single "Girls, Girls, Girls" with some hilarious backing vocals by Q-Tip, Slick Rick and Biz Markie. Also, a great sample chorus of "High Power Rap" by Crash Crew and a sample of "There's Nothing in This World That Can Stop Me from Loving You" by Tom Brock. The song is about Jay-Z's (Ahem) promiscuous lifestyle. "Heart of the City (Ain't No Love)" has a great beat and soulful feel. You got to watch your back. A Bobby Bland sample. "Song Cry" was the fourth single and is just a great slow, melodic ballad. My favorite song on the album. About infidelity and neglect. Jay-Z at his most vulnerable. A sample of Bobby Glenn's "Sounds Like a Love Song." The only guest appearance on the album is Eminem on "Renegrade" and he just kills it. A song he orginally wrote with Royce da 5'9". Jay-Z has the first few verses as tells about his fatherless upbringing. Eminem then takes over and goes after the hypocrisy of the public outcry against him. This album is consistent and an enjoyable listen throughout. Not a dull moment. Its critical appeal has only grown extremely high over time. An obvious high recommendation.

"Being There" is the second studio album from the alternative rock band Wilco. It was self-produced and a double album priced at a single album (which some saw as a marketing move). The album was named after the 1979 movie "Being There" since Wilco saw similarities between this album and the Peter Seller's character Chance. I'll have to re-watch it now. The album was viewed as a dichotomy between alt-country (their previous album "A.M." and Jeff Tweedy's former band Uncle Tupelo) and music more pyschedelic/surreal. I totally agree with that as there are songs that fit both of those categories along with just some straight-forward pop-rock songs. This is a tremendous album. Also, very important was the addition of multi-instrumentalist Jay Bennett from the recently disbanded Titanic Love Affair. He would prove vital on this and next few Wilco albums. Wilco announces very loudly their alt-country departure on the first song "Misunderstood." Each band member plays a different instrument than what they typically play. Tribal drums. Guitar feedback. Total chaos. It then goes soft with a piano and alternates between the two throughout. Tweedy is the tortured artist, satiricallly pokes fun at himself and references the break-up of his former band Uncle Tupelo and bandmate Jay Farrar. A great song live. The two singles released "Monday" and "Outtasite (Outta Mind)" are pretty much straight-forward rockers. In one, he talks about making it big but doesn't want to work to do it and in the other someone who is outta site for awhile becomes outta mind. "Hotel Arizona" is very high on my favorite Wilco songs. A song that starts soft with an organ and traditional rock and just builds taking off with some great guitar. An ode to "Hotel California?" Getting use to the rock and roll lifestyle but with self doubt. The second half begins with a gem of a song in "Sunken Treasure." The acoustic guitar strings. Similar to previously mention songs it builds and alternates between soft and loud. The heart and soul of the album. The tortured artist. Great lyrics. We still got some alt-country goin' with "Someday Soon." Steel pedal guitar. A goofy backing vocal chorus almost sounding like Van Halen from back in the day. "Kingpin" also keeps the alt-country vibe going with some acoustic guitar twang. The struggle between being the kingpin of a small town and the lure of the big city. A shout out to Pekin, lllinois. With the underlying organ and beat, I also heard foreshadowing of what was to come on their next album, the wonderful "Summerteeth." "Being There" is my favorite Wilco album. The band separated themselves somewhat from the alt-country scene, Uncle Tupelo and Son Volt and Jay Farrar. The band would continue to transform over the next several albums. I would recommend listening to first four albums in order to see the band grow and transform.

"1984" is the sixth studio album by Van Halen and the last one with David Lee Roth and the original line-up until 2012's "A Different Kind of Truth." I can't say I've listened to that one. In the previous few albums, Eddie Van Halen had wanted to use synthesizers but David Lee Roth and producer Ted Templeton would not allow it. But on this album they came to a compromise with a mixture of keyboard-heavy and guitar-heavy songs. Also, it took them roughly a year to record and produce this whereas previously albums were done within days or a few weeks. This album was a huge success and stayed at #2 on the Billboard chart for five weeks behind "Thriller." Being 16 at the time this came out and in the height of the video era, of course, I've liked this album to some extent. After a Rush-like synth instrumental, we come upon the synth-heavy "Jump." A classic synth intro and melody. Both the guitar and synth solos are cool. However, I'll also always think of the Chicago Cubs since it was played as their TV intro for years and being a White Sox fan, welll....I do have mixed feelings. Although it has more of a happy vibe, David Lee Roth said the lyrics were from actually watching a man waffle as to whether to jump or not off a skyscraper. Didn't know that. Then we dive into the guitar-heavy "Panama." OK, this is my favorite VH song. I liked the goofy video. Kick ass guitar. The song was created when a reporter asked Roth why he only wrote songs about women, partying and fast cars. Well, he never had written a fast car song. This is that. On the second side, Alex Van Halen's drums start and shine on "Hot for Teacher." Eddie's guitar comes skammin' in. It goes loud/soft/ loud. Cheesy lyrics. Yeah, I liked the video too. Back to synth-heavy on their second single "I'll Wait." Co-written with the Doobie Brothers' Michale McDonald. Inspired by Roth seeing a women wearing men's underwear. Hmmmm. The last two songs are actually hidden gems. The band just rocks it. "Girls Gone Band" has a Rush-like guitar start and then Eddie just kicks it in with all his guitar gymnastics. "House of Pain" was a song from the mid 70's. It's heavier. A good song to end the album. Yes, this album is of its time and place. I remember seeing them on this tour. Kind of sloppy. Kind of drunk. The sound quality was terrible at the Rosemont Horizon. But, I had fun. And, I kind of had fun listening to this again today.

The randomizer must really want me to listen to Morrissey and The Smiths as this is my second Morrissey album and I've had all three Smiths' albums in the challenge. "Viva Hate" is the debut solo album by Morrissey and wasting no time, it was released just six months after The Smiths' final album "Strangeways, Here We Come." It was produced by Stephen Street who also played bass. Vini Reilly from the post-punk band The Durutti Column played guitar and a key part, I thought, to two of my favorite songs. Overall, this was a much more pop-oriented and softer album than what he would do a few albums later. I did not exactly find an overall theme focusing on the break-up of The Smiths...maybe a few songs. This album starts out uniquely in "Alsatian Cousin" with an early PIL sounding guitar and drums sounding like a drum machine. A harder sounding song especially with the guitar. One of my favorite on the album. An unattractive girl is jealous about someone in a relationship. "Everyday is Sunday" has a majestic pop feel with the strings. I think it's simply about being bored. One the Moz's best songs. The second half starts with another one his best songs in "Suedehead." Great melody. I think some more straight-forward lyrics about a person breaking up with another for reading their diary. A very good hidden song is "I Don't Mind if You Forget Me." Here's a a song that might be about the breakup of The Smiths. Like the first song, just great interesting guitar by Vini Reilly. Not anything like Johnny Marr. Morrissey gets his acerbic side out in the closing song "Margaret on the Guillotine." Pretty self-explanatory about his opinion on Margaret Thatcher. A slower song with guitar only. This is an album that has two classic Morrissey songs and two very good hidden ones. I found the other Moz album "Your Arsenal" that I've listened to in depth (from the challenge) harder sounding, Morrissey's lyrics more clever and an overall better album. But, this has some highlights and definitely worth a listen.

"The Slider" is the seventh album since T. Rex started as Tyrannosaurus Rex in 1968. It was recorded in France and Denmark to avoid British tax laws. It was excellently produced by Tony Visconti and that is one of the strengths of this album. Marc Bolan and T. Rex were pretty much the poster kids of early 70's glam rock which was at the height of it here. I've always liked this album...big guitars riffs, sing along choruses and the as-mentioned production. The album starts out big with the production and the second single "Metal Guru." Strings and the back-up vocals remind me of 60's pop and somewhat doo-wop. Bolan said it was about envisioning a god-head like figure without a telephone. Whatever that means. Great song. A great chunky guitar chorus and riff on "Rock On." Horns included. I think the back-up singers are actually men but they sound like females. That's pretty consistent throughout a lot of these songs and it's a strength. Bolan is broke up about a relationship and he's on the floor. A tougher guitar sound opens "The Slider." The song is slower and ominous sounding with the strings and back-up singers. Sniffling sounds. Well, he is pretty obviously singing about doing cocaine. The second side I found decidedly stronger than the first. The first single "Telegram Sam" begins it with with a classic guitar riff. Geez, I wonder why? It sounds a lot like "Get It On." No matter. Both are great songs. About a festival of life. The last three songs end this album very strongly. "Ballrooms of Mars" is a little slower, almost a ballad. Great guitar solos especially the outre with layered guitars. "Chariot Choogle" has a stomping guitar riff, great vocal chorus and backing vocals. He's turned on by a girl. Bolan randomly shouting "Yeah" is another highlight. Another great chorus in "Main Man." Acoustic guitar. This song appears very auto-biographical. An interesting way to end. I've only really listened to "The Slider" and "Electric Warrior" from T. Rex. Both of them are great and highly recommended. I don't know if I need to go any further. Maybe I will. Maybe I won't. Anyway, this one was fun.

"Like A Prayer" is the fourth studio album from Madonna. Four producers were involved including Madonna herself, Stephen Bray, Patrick Leonard and Prince. One of the things that stands out is the variety from song to song and I think using all these producers helped that. On her first three songs, she goes from pop to more dance to soul/R&B. This is considered her most introspective release, a confessional record with songs about her Mother, Father, family and God. It drew critical acclaim for taking on serious, personnal subjects. Plus, the music is very solid in its production. The album begins with the self-tilted "Like A Prayer," a massive hit world wide. A guitar intro and the guitar remains kind of in the background throughout. The synth and backing vocals gives this a church feel as it should since it's about a child's/teens' relationship with God. At its hear it's a pop song and a great one at that. Let's go dance in "Express Yourself." I love the strain in Madonna's voice and the extended album version. A song about female empowerment and gender equality. To me, the third single "Cherish" takes us to more pop, early 80's Madonna. It's lighter, peppier. I think just a happy song about a relationship. "Dear Jessie" was inspired by producer Patrick Leonard's daughter and is more like a pop lullaby. Strings, synths, trumpets. It changes pace. Fantasy imagery with pink elephants and mermaids. Another inspiration must have been the Beatles as well. "Oh Father" is most defintely a ballad, with strings, a baroque pop one at that. Based on Madonna's relationship with her Father. A very mature Madonna vocal approach highlights its seriousness. The sixth and final single is the funky "Keep It Together." Dedicated to Sly and the Family Stone. Nice percussion, congas and a banjo. Very nice production. Madonna stresses the importance of her family. An interesting ending in "Act of Contrition" with searing guitar (sounds like Prince), gospel singers and spoken word sometimes screaming by Madonna. Hmmmm. I really like the variety from song to song on this album with everything still very much in the pop category. The production is high with the strings, horns, synths, percussion and backing vocals. A definite recommendation to the whole album including the songs you might not have heard.

"Odessey and Oracle" is the second album by the English rock band The Zombies. It was recorded at EMI (Abbey Road) and Olympic Studios in 1967 and self-financed independently since they were dumped by their record label Decca Records. The album was eventually released in 1968 by CBS Records after the band had broken up. The album did not do well immediately after its released but began to gather a cult following which has resulted in numerous reunion performances. The music is classified as baroque pop, chamber pop, pyschedelic pop and pop-rock, all of which adequately fit. The music reminded me of The Beach Boys with the harmonies and early Pink Floyd. I hear their influences in The Stone Roses. All band members contributed to the vocals and consisted of Colin Blunstone (lead vocals, percussion), Rod Argent (keyboards), Paul Atkinson (guitar), Chris White (bass) and Hugh Grundy (drums). The album start with "Care of Cell 44" which is the happiest song about a prison that I've heard. Strings. Nice backing vocals. Writing to a person in prison awaiting their release. "Beechwood Oak" has a more pyschedelic, early Pink Floyd vibe. Guitar. Organ. Great backing vocals. Remembering a girl at Beechwood Park. "Hung Up on a Dream" has strings, piano and firmly in the baroque pop area. A pyschedelic dream. Hmmm...wonder if any drugs were done? Side two continues the baroque pop with "Changes." I really liked the Beach Boys harmonization in this one. The fourth single "Butcher's Tale (Western Front 1914)" is different lyrically than anything else. It's still in pyschedelic music area with the keyboards but the only song sung by Chris White and about a butcher who goes to war based on a sermon but now regrets it....not sure I'm on board with this one. The first single was "Friends of Me" and is straight-forward pop and another one with great harmonies. A happy sounding song but the guy singing sees all his friends have lovers but not him. And then the closer is their big one "Time of the Season." Who doesn't know that unique groove of the percussion, bass and the "Ahhh." A groovy organ jam. It seems obviously about free lovin.' Hey, they were near the Summer of Love. This is a really, really good album. Sounding sort of like other bands but still very much its own. I can see why it has its cult following. Anytime you can reference The Beach Boys, early Pink Floyd and The Stone Roses in an album is a good thing in my world.

"Songs of Love and Hate" is the third studio album from Leonard Cohen. It was recorded in Nashville, London and a live song at The Isle of Wight with his band The Army. Many of these songs were written years earlier. The songs were recorded at a difficult time for Cohen as he felt his life was falling apart and was in a state of deep depression. Well, this album starts dark and stays there. As with every Leonard Cohen album, just utterly brilliant lyrics. The music highlights his mood too. Critics found this album less varied than his previous albums but more focused. It is focused. A classic guitar with an uptempo pace starts "Avalanche." Strings build and add tension. Cohen's voice just sounds evil. He's in a state of depression and God isn't helping. "Last Year's Man" goes to an even starker place with acoustic guitar playing...barely. A jilted man with fantastic imagery to God, the Old Testament and Joan of Arc. Strings and a child chorus gives us a little hope at the end. This also a song Cohen never played live since he felt he could never get it right. "Famous Blue Raincoat" is one of his more popular songs covered by many artists. It's about a man writing a letter to another man whose wife he had an affair with. Another song where the strings and backing child vocals add to the emotion. The album ends with Cohen in more spoken word form in "Joan of Arc." He tells the story of a dialogue between Joan of Arc and the fire as she burns at the stake for heresy. Cohen said this song was about how you meet you destiny. Cohen starts singing "La-la-la" in a deep, depressed voice contrasted with female backing vocals. Beautiful. Strings add to the acoustic guitar as the story unfolds. I've never heard a bad Leonard Cohen album but this is my favorite. The emotion in his voice is stark and just incredible. The music is sparse but on on point to his lyrical themes. A very high recommendation.

"Scott 4" is the fifth studio by Scott Walker. It was originally released under his birth name Scott Engel but later changed in reissues. It was his first album with his own self-penned songs. The music style is classified as art-pop and avant garde and was considered to have slightly less orchestral arrangements and more folk style songs than his previous releases. I'd agreed with that but there is a fair bit of baroque pop in a lot of these songs. The strength of this album is his strong vocals and the musical arrangements. A very enjoyable album to listen to. Mariachi horns kick off the first song "The Seventh Seal" which is based on the Ingmar Bergman film of the same name. Strings, drums and bells come in. A dramatic, interesting song. Scott's strong voice. The Swedish king comes home from the Crusades to face the plague and death. "The World's Strongest Man" is firmly in the baroque pop category with the strings. Continued excellent vocals as Scott wants his women back. The first side ends with the excellent "Boy Child." Just lovely musical arrangements. The second side begins with a more folk song in "The Hero of the War." Acoustic guitar and lighter on the strings. Kind of a contrast with the music and the tale of a man going to war and not coming back, like his father. "Duchess" is just a beautiful song with strings and a melancholy feel. I have no idea what he exactly he singing about but a duchess whom he loves and mentions the Persian Sea. The album ends with the majestic "Rhymes of Goodbye." Walker's voice soars. Continued imagery and comparisons of love to empires and cities. Some of these songs do have fantasy quality to the lyrics. Scoot Walker's music is always interesting to listen to in my experience. His earlier solo work is a lot more listenable for most people than his latter day experimental music (I like both) and "Scott 4" is up there with his best earlier music. A strong recommendation.

"Modern Kosmology" is the ninth album release by English singer, songwriter and guitarist Jane Weaver, who was part of the Britpop band Kill Laura. Her music is classified as acoustic, pyschedelic folk, alternative rock and electronica. Yes, quite a mix and so is this album. The closest comps I hear are "Embrionic" era Flaning Lips, Sterolab and then just straight forward pop-rock. I enjoyed this album quite a bit. A positive tone with abstract lyrics using imagery to nature, the cosmos and geometry to what appears to be relationships or just a general state. The album begins with "H>A>K" and a helicopter sound which goes into more rock. It sounds like a pyschdelic, spaced-out version of "Ace of Spades." Birds singing begins "Dud You See Butterflies." A driving rhythm section, keyboards and layered vocals create a Stereolab-esque mood and tone. Abstract lyrics. "Modern Kosmology" is where I really heard The Flaming Lips. Keyboards. Weird noises. Pyschedelic. See the world and cosmos and change it. A droning keyboard and organ intro begins "The Architect" which then kicks in with a dance beat. Now I hear the Afghan Whigs. A driving urgency carries this song which was my favorite on the album. He's the architect of repetitive relationship behavior. "We fight, we fall." A spoken word dialogue from a man starts "Ravenspoint." The lyric "We are on our way to dust" keeps getting repeated. Backed by an organ and pyschedelic electric guitar, the mood is sort of creepy in a good way. Strings end the song fading out. Well, this was an interesting and enjoyable listen. Not really a dull moment. When you are compared to The Flaming Lips, The Afghan Whigs, nd Sterolab that's a very good thing in my world. Recommended, especially for anyone who likes those bands.

"Joan Baez" is the debut album by American folk singer Joan Baez. The album is also known as Joan Baez Vol. 1 and includes 13 traditional folk songs. It was recorded in just four days in a NYC basement with Joan's voice and her guitar. There is some backing guitar. The sparse musical arrangements stress the lyrics and Joan's voice which can be stunning and sometimes piercing. It is also one of those culturally, aesthetically and/or historically significant albums selected for the National Recording Registry by the Library of Congress. The album begins with the American folk ballad "Silver Dagger." Nice guitar playing. The female narrator turns away a suitor based on a warning by her Mother. Baez shows her vocal strength on the English folk ballad "Fare Thee Well (10,000 Miles)." Bidding her man farewell. The Animals do a pretty evil-sounding version of "House of the Rising Sun" but with just her voice and a guitar Joan's version is even more haunting. A person's life goes wrong in New Orleans. Joan goes country in "Wildwood Flowers" and then Yiddish in "Donna Donna." The highlight of the album for me is her version of the Scottish ballad "Mary Hamilton." Speaking of haunting, a lady-in-waiting to the queen becomes pregnant by the king, kills the baby and then awaits her impending death. Quite a tale and Joan's emotional range is just fantastic. I think a decent job at the accent too. This was an interesting album. I really liked the way the songs switched from traditional American to English to country to Yiddish to Scottish and back. With a simple acoustic guitar, Joan's voice carried the emotion and was able to successfully achieve the variety of folk songs on this album. I recommend this for obviously anyone who likes folk and/or wanting to hear one of the best artists in that category.

"Stories from the City, Stories from the Sea" is the fifth studio album from English alternative rock musician and singer PJ Harvey. The album has themes of love and connections to New York City where she had been living for nine months. She purposedly made it more direct, more melodic and less darker than her previous albums. I'll agree with that; the first three songs are very melody driven. She does still have an harder edge going in a lot of these songs which I've always liked about her music. It did win the 2001 Mercury Prize for the best album released in the UK by a British artist. "Big Exit" starts the album in a straight-forward rockin' way. Nice guitar melody. PJ's vocals come in hard and strong. A song maybe misinterpreted as a suicide song; I think it's more about a reaction to being in an unfamiliar place. The first single "Good Fortune" has another strong melodic start. The urgency in PJ's voice. Simply, about falling in love. Great song. The second single "A Place Called Home" uses an acoustic guitar giving it kind of a groove. Another love song...one day there will be a place for us. Thom Yorke takes over as lead singer on "This Mess We're In." PJ in the background. Slower, more of a ballad. This song has grown on me a bit. They want each other but are obligated to someone else. A similar theme is in "You Said Something." Sort of an off-key guitar melody. The music and vocals build the emotion. Imagery to NYC and they want to be with each other but something is holding them back. Probably my favorite song on the album. PJ goes more punk and Patti Smith in the third and final single "This Is Love." Hard repetition in the music and vocals. An ominous start the to the album closer "We Float" with the bass, organ, drums and PJ's vocals. Starting out desperate and then optimism kicks in with uplifting vocals repeating "We Float." A great album ender. This album sounded great today. Really solid from start to finish. I'm a huge fan of early PJ Harvey. Yes, this album is more melodic and less dark but still has the edge of those albums. Highly recommended.

"Lust for Life" is the second solo studio album by Iggy Pop. It was recorded in collaboration with David Bowie after they were on tour to support his previous album "The Idiot." It was also recorded in Berlin as Iggy and Bowie were trying to get clean battling drug addictions. The writing, recording and mixing only took eight days as Iggy was trying to emulate Bowie's quick pace and was more involved in the music writing. Bowie had pretty much written most of the music for "The Idiot." The music was noted as being more Stooges-like and rocking than his previous album. I'll definitely agree with that on the side one songs. There's a pace and groove that rocks. I also think using his touring band helped as they are very tight. The band was Iggy (vocals), Bowie (keyboards), Ricky Gardiner (guitar), Carlos Alomar (guitar), Tony Fox (bass) and Hunt Sales (drums). "Lust for Life" start the album off strong with the drum beat and guitar. A pounding groove. Melody doubled by the instruments. The song was inspired by Morse code used by the American Forces Network News in Berlin. It's upbeat but the lyrics have a theme of you need to lust for life to keep from killing yourself (to me). "Sixteen" is where I really heard The Stooges. Iggy screaming. Edgy guitar. I think simply just lusting after a girl. "The Passenger" has just a great, great guitar melody. Those chords were written by guitarist Ricky Gardiner. The song was inspired by a Jim Morrison poem...modern life as a journey by car. A haunting sounding song especially with the backing vocals and chorus. The second side begins with "Success." You can hear the Bowie influence here with his keyboards and backing vocals. It's upbeat and has a 70's Bowie soulful feel. Iggy continues the 70's soul going in "Turn Blue." Igyy singing, screaming, talking. It's about heroin. The music is sort of bluesy. The album closer is "Fall in Love With Me" and has a groovy feel with the keyboards and organ. Interesting guitar..almost a separate guitar solo going on in addition the keyboard driven melody and rhythm. I think Iggy just lusting after a girl...again. This is a very, very good album. A decent variety of styles; some songs are straight-forward rock, the second side seems more Bowie soul-influenced and then you have two of his best songs in "Lust for Life" and "The Passenger." A high recommendation.

"Heartbreaker" is the debut album from American singer-songwriter Ryan Adams. The album was recorded in 14 days and inspired from his break-up with music industry publicist Amy Lombardi. Yeah, a lot of these songs are about relationships and particularly the negative aspects of them. There are some songs about other things too. His lyrics are one of the strengths of this album. Adams wrote and recorded this after the break-up of his alt-country band Whiskeytown and the music here defintely falls in the alt-country or just plain country genres. I'd also say some of the songs are folk too. Stark, simple and, overall, a really good album. The album begins strangely enough with a discussion on Morrissey and then goes into "To Be Young (Is to Be Sad, Is to Be High)." I think Adams is doing his best Bob Dylan impression here as it sounds like 60's Dylan. Country guitar and a sort of a blue grass beat. I think simply about being young, lost love and drugs. "Amy" is pretty bare bones and stark with an acoustic guitar and strings. An obvious song about his former girlfriend Amy Lombardi and how he misses her. "Oh My Sweet Carolina" continues the slower pace with piano and drums. Great backing vocals by Emmylou Harris. Gambling, drugs, spending money...he just wants to go back home to Carolina. "Come Pick Me Up" is uplifting sounding song with the guitar and harmonica. Great harmonies by Adams and backing vocalist Kim Richey. Now this song is smack dab in the alt-country genre and one of the best on the album. He's in love with a girl even though she treats him like shit. Hey, we have a rock song with "Shakedown on 9th Street" and the only song I'd put in that rock category. He's getting in a fight with guy over a girl. The album closer is "Sweet Lil Gal (23rd/1st)." Just a piano. The Chelsea Hotel is at that location in NYC. Is it about a girl? Is about getting drugs? Both? I didn't comment on Adam's recent multiple sexual misconduct allegations and tried to listen to this without thinking about that. In the Ryan Adams catalog of albums (there are a lot) I'd put this at the top of what I've heard. If you're an alt-country fan, this would be right up your alley. I also liked his previous band's (Whiskeytown) last album "Pneumonia" quite a bit too.

"Bone Machine" is the 11th studio album by Tom Waits and was his first one in five years after "Franks Wild Years." It was noted as being rough, stripped down and percussion heavy with dark themes of death and chaos. I'll say; at times these songs could very creepy, could be beautiful and also sounded like listening to a 1920's/1930's radio show. It was recorded in a cellar in California which had very good echo. Guest appearances on the album included Les Claypool (Primus), David Hidalgo (Los Lobos) , Brain (drummer) and Keith Richard's. It was produced by Waits and his wife Kathleen Brennan (who co-wrote some of the songs) and also won a Grammy for Best Alternative Album. Multiple sticks, weird percussion and Les Claypool start the album with the very creepy "Earth Died Screaming." Waits begins the song mumbling and is screaming by the end. Oh, and it's about the apocalypse. "Who Are You This Time" is a more straight-forward rock song. Hey, Tom Waits can sing. One of the "beautiful" songs on the album. Great lyrics...singing about an ex-girlfriend who was promiscuous. "They're lining up to mad-dog your tilt-a-whirl." Waits goes gospel on "Jesus Gonna Be Here." A nice echo production and sounded like a very barebones New Orleans jazz song. Impending death. "A Little Rain" is a heartfelt and melancholy song with Waits' raspy voice. Piano and steel guitar. A father is recalling his daughter's death. "Goin' West" sounds like mid-80's alternative with the creepy guitar. Pounding drum beat. A raw sound. Waits is particularly indecipherable as he makes fun of Hollywood pretty boys. Tom has hair on his chest and he looks good. Lol. Los Lobos' David Hidalgo plays accordion and violin on "Whistle Down the Wind." Another Waits' raspy delivery. He's looking back at his life before being stuck in the dust. And then the album finishes off with "That Feel." Keith Richard's contributes to the vocals and with Waits and him together sounding like two old drunks singing at a bar. Excellent. About an old girlfriend? About drugs? He can't really change who he is. This album was a fun experience. It might be grating to some but never a dull moment. Original. Experimental. I don't know if I'd start with this album if you haven't heard him before but if you like him, I'm sure probably like this.

"Francis Albert Sinatra & Antônio Carlos Jobim" is an album by American singer Frank Sinatra and Brazilian composer, pianist, songwriter, arranger and singer Antônio Carlos Jobim" also known as the father of bossa nova. The album consists of seven original Jobim compositions and three standards from the Great Ameirican Songbook, sung, of course, by Sinatra and arranged in the bossa nova style. And, the arrangement and conducting was done by Claus Ogerman which also included an orchestra. This was a pretty subtle and subdued performance by Sinatra. The music and arrangement was very good and is the strength of this album. Jobim's guitar begins the famous "The Girl from "Ipanema." Sinatra sings in English, more subdued; Jobim comes in, vocally in Portuguese, and trades off with Sinatra. Great arrangements in the orchestra and bossa nova beat. A album highlight for sure. This is one of the most recorded songs of all time. Sinatra covers Irving Berlin's "Change Partners " a song orginally written for the 1938 film "Carefree." Nice strings. Al Volia played guitar as Jobim couldn't quite get it. Another big album highlight is Jobim's "Quiet Nights of Quiet Stars (Corcovado)." Light bossa nova beat. Strings. I love the horn fade. Named after the Cocorvado mountains in Rio de Janeiro. By my counts, covered my no less than 60 artists. Piano and strings lead "How Insensitive (Insensatez)." A jazz standard song. A song that made me feel like I was in a jazz club was "Baubles, Bangles and Beads." The Robert Wright/George Forrest cover of the 1953 song for the musucal Kismet. A little more upbeat bossa nova beat...very nightclub-ish. It's funny that Sinatra had won the two previous Grammy albums of the year but, this year, this album happened to lose to "Sgt. Pepper's Lonely Hearts Club Band." Highway robbery I say. Anyway, Sinatra is fine doing this style. For his singing delivery, I like a few of his earlier albums better. However, the music itself was enjoyable and is recommended.

Album #204 (1001 challenge): "Lady in Satin" by Billie Holiday (1958) "Lady in Satin" is the penultimate album and the last one released in the lifetime of American jazz singer Billie Holiday. The album was produced by Irving Townsend and first after Billie signed a contract with Columbia. Similar to Frank Sinatra and Ella Fitzgerald, Billie wanted to record songs from the Great American Songbook of Claasic Pop in the same orchestral arrangements vein as Frank Sinatra and Ella Fitzgerald (as opposed to jazz). So, that's what she did. Boy, I've heard a lot of the Great American Songobbok this week. Ray Ellis did the arrangements with a 40-piece orchestra. This was at the very end of Billie's career and her voice had a lot of its range. But, she still has the emotion which shown through. The album begins with a cover of Sinatra's "I'm a Fool to Want You." Great orchestral strings. Sure, Billie now has a fairly raspy voice but the emotion is there. The strings and especially the trumpet are great on 1938 Hoagy Carmichel's "I Get Along Without You Very Well." The excellent orchestral arrangements and Billie's emotional continue throughout all 11 songs. Other highlights include "You've Changed," " Glad to Be Happy" and "I'll Be Around." This album was enjoyable to listen to. I know Billie's voice is not what it was 20 years prior but the orchestral arrangements are excellent and Billie's delivery and emotion are still worth checking this album out.

"Wish You Were Here" is the ninth studio album from Pink Floyd and their follow-up to "Dark Side of the Moon. And, they struggled making this follow-up taking six months to record it with all members not having very fond memories of that time. It was their second conceptual album with themes of alienation and criticism of the music industry. Former band member Syd Barrett made a famous visit to studio during the recording in which no one immediately recognized him. Several parts of these songs and their lyrics were written for Syd Barrett. The album actually received mixed reviews upon its initial release although considered a classic by many now. I would definitely put this album near the top of my favorite Pink Floyd. "Shine on You Crazy Diamond" bookends this album with the first five of nine parts opening the album. This song was part of an album never made, "Household Objects," and is a tribute to Syd Barrett. Various keyboards, a baritone sax and guitar are emphasized throughout. The highlight of the song is the vocal part (part IV) with Roger Waters and great backing vocals by the other members. A door opening symbolizing musical discovery and progress betrayed by the music industry starts "Welcome to the Machine." Acoustic guitar, a EMS VC5 synthesizer and random noises give this song a real feeling of alienation and desolation. A great job of music creating an atmosphere. "Have a Cigar" opens the second side with Roy Harper on lead vocals since Waters and David Gilmour didn't feel they were doing a good job at it. A chugging riff of guitar and bass. Richard Wright's synthesizer. A sizzling Gilmore guitar solo finish. Another song scorching the music industry. That familiar acoustic guitar sound opens "Wish You Were Here." Great lyrics. A classic rock song. A song both about Syd Barrett's condition and the dichotomy of greed and ambition against compassion and idealism. Parts VI though IX of "Shine on You Crazy Diamond" end the album. It's very similar to the start of the album; one part with basically the same lyrics and the remainder instrumental. I will say that I've listened less to Pink Floyd in the last five to seven years than the previous, oh, 30 to 40 years. I'm not sure why. Maybe, burned out. This album though is one of my favorites probably along with "Animals" and it sounded great today after not hearing it for awhile.

"Mermaid Avenue" is a folk album of previous unreleased lyrics by American folk singer Woody Guthrie put to music and performed by British singer Billy Bragg and American band Wilco. It was a project organized by Guthrie's daughter, Nora, who approached Bragg about writing music to her father's lyrics as he had left lyrics to over a thousand songs but couldn't recorded them due to his Hunnington's disease. Bragg contacted Wilco and they split and recorded the songs in Dublin, Ireland. This album is a lot of fun. Two interesting notes: Woody had actually contacted Bob Dylan over 40 years ago to do exactly this but Woody's wife and son, Arlo, knew nothing about it when Dylan went to his house. Also, Bragg and Wilco didn't get along at the end with tempers flaring as Wilco wanted a less produced sound than Bragg and Bragg basically told them to fuck off. By the way, I kind of like the Wilco songs a little better. However, there did two more Mermaid albums both of which are pretty good. A great sing-along song "Walt Whitman's Niece" opens the album with Bragg singing, Jeff Tweedy (Wilco) on harmonica, acoustic guitar and plenty of backing vocals. He's going to a brothel. Jeff Tweedy delivers great vocals on probably the most popular song on the album in "California Stars." Great lap steel guitar by bluesman and reggae artist Corey Harris. Great violin by British folk artist Eliza Carthy. A dual meaning in moving to California during 1930's Oklahoma dustbowl and a reference to a famous quilt pattern at the that time. Maybe, my favorite Bragg song is "Way Over Yonder in the Minor Key" with 10,000 Maniac vocalist Natalie Merchant on backing vocals. He is going to make out with a girl and then gets beat by her Mother. It was probably worth it. I also like Bragg in "Ingrid Bergman." A simple song about Gutherie's Fascination shall we say with Ingrid Bergman. The album's highlight for me and one of Jeff Tweedy's best-ever vocal performances is "One by One." I read that this was the song that brought Nora Guthrie to tears when she heard the album and what they did with the lyrics. A beautiful song. Organ. Piano. Pedal guitar. About impending death and using nature and personal imagery to describe things that he will never see again. The album ends strong with Tweedy singing again about impending death in ""Another Man's Done Gone" and Bragg on lead and Tweedy on backing vocals in "The Unwelcome Guest" about a poor guy on the run from the rich. I remember liking this album quite a bit when it came out. It has fun songs, poignant songs and some of Bragg and Wilco's best songs. Definitely one to check out if you haven't.

"Tanto Tempo" is an album by Brazilian bossa nova singer Bebel Gilberto, daughter of the famous Brazilian guitarist, singer and composer João Gilberto. Bebel came from a family of musicians and singers, was born in New York City and raised in Mexico and Rio de Janeiro. I think this background adds to the variety of music here, classified as bossa nova, future jazz and downtempo. I found her voice and the music somewhat similar to Sade. This album was produced by Serbian Suba who died from smoke inhalation saving the recorded album in a studio fire. The album opens up with a cover of the Vinicius de Moraes' sung "Samba da Bênção." Both Gilberto's voice and the music is sultry. An immediate thought of Sade. Sung in Portuguese. A slower bossa nova beat. Jazzy with horns. She gets a flowing groove going with "August Day Song" mixing English and Portuguese. Nice tightness between the acoustic guitar and drums. The percussion adds a different beat to "Algeum." More of a chill atmosphere. "Lonely" is eclectic and peppy. Encroaching on modern EDM territory. May be in it. "Bananeira" begins with a funky groove and horns, hey a 70's-era song. She is almost rap-singing. As the song progressed, I realized this sounded more like Stereolab. My favorite song on the album. "Close Your Eyes" ends the album in club-like fashion. A more fast-paced bossa nova beat. Horns. Definitely the most dance-able of the songs. A nice closer. I liked this album: the way it varied: from bossa nova beats to funk to edm/chill-like to clubby. If you're a fan of Sade's music and especially her voice, you'll also like this.

"Me Against the World" is the third studio album from American rapper 2Pac (Tupac Shakur). 2Pac wanted to show respect for rap as an art form; the lyrics are more personal and deal with his troubled past. Yeah, I'd say almost all songs went back somewhat to his past growing up in a gang environment. He apparently took inspiration from an impending prison sentence for sexual abuse for unwanted touching (he contested), growing up in poverty and trouble with the police. In fact, this album was released while 2Pac was in prison. It went to No. 1 on both the Billboard R&B/Hip-Hop and Pop charts. This is the first time an artist had a No. 1 album while serving a prison sentence. Recording took place in ten different studios with 12 to 13 people credited as producers. I think that help create some variety in the music. An eerie beginning with "Intro," a spoken word description of 2Pac being shot (true story) while going to the studio and his shooting at police officers (another true story). 2Pac then starts his rap voice hard on "If I Die 2Nite." He describes his gansta life and lack of fear of dying. The music sounds a lot like Dr. Dre's "The Chronic" and there actually is a Dre sample. The music becomes a little more soulful on "Me Against the World" with female backing singers and a more laid-back beat. More hopeful as he feels he's got nothing to lose. The second single "So Many Tears" does a nice job of juxtaposing a sample of the happy "That Girl" by Stevie Wonder with the lyrics of the cruel world in which he grew up in. The third single "Temptations" adds a funky groove and more soulful rapping by 2Pac. He wants to be an honest man but the temptations. "Dear Mama" was the big single of the album and an ode to his Mom. Strings. Female backing vocals. Great production. The best lyrics on the album which appear to be brutally honest. His Mom had it tough referencing her doing crack and other things but she did everything for him. Hey, we have a fun song with "Old School" as 2Pac raps about and mentions a ton of old school rappers. This album was very consistent staying with the theme of growing up in a tough and gang-infested environment. Very personal it appears for 2Pac. No remorse. Unfortunately, it also appears like it foreshadowed what happened to him a few years later in Vegas. The music did have some soul to it which I appreciated.

"Here's Little Richard" is the debut album by Little Richard (Richard Wayne Penniman). The album was promoted as six of Little Richard's hits and six brand new songs of caliber and was really a compilation of A-Sides and B-Sides of his hit singles. It was produced by Robert "Bumps" Blackwell in New Orleans (Little Richards' hometown) and Los Angeles. This was the first 12" LP for his label Speciality Records. Wop-bop-a-loo-bop-a-lop-bom-bom and so begins his legendary song "Tutti Frutti." Now there's the most famous and influential nonsensical lyrics of all time. The original lyrics were much more risqué and had to be tamed down for the 1950's. The energy. Also, the distinctive 8-note pattern was an innovation leading to the creation of the rock and roll genre. "Reddy Teddy" was a huge R&B hit. The horns. The pace. The vocal delivery. Great energy and lyrics...He's ready Teddy to rock and roll. A great piano, beat and horn start to "Slippin' and Slidin'." The sax solo! The second side begins with his second legendary single in "Long Tall Sally." Again, the energy and vocal delivery. He's out having some fun tonight. Great screamin' and fun lyrics. Little Richard rocks and rips it up in "Rip It Up." The rockin' piano and sax begins "Jenny, Jenny." Little Richard has to be the best ever at nonsensical and rhyming lyrics. This album was a blast. What can you say. His energy. His screaming. His piano playing. A lot of fun. If anyone is interested in the beginnings of rock and roll, this is a good place to start.

"On the Beach" is the fifth studio album by Neil Young and right in the midst of an incredible string of albums from the late 60's to late 70's. It was the second album in his ditch trilogy (also including "Times Fades Away" and "Tonight's the Night") and inspired by feelings of retreat and melancholy from the success of his "Harvest" album. I'd say; there might be one positive song. It was recorded looser and more haphazardly than previous albums using a variety of sessions musicians including The Band's Rich Danko and Levon Helm, Stephen Stills and David Crosby....a more raw sound he wanted. Initially, Young wanted sides one and two swapped but stayed with current format. Also, of note, the album was available only on cassette and 8-Track from the early 80's up until 2003. The album begins with maybe the only happy sounding song in "Walk On," more in the standard rock sound category. An interesting guitar solo which sounds like it's in a minor key. Young sees the damage done to the earth, wars and being criticized but you need to keep moving on. I know this is the only song from this album that I've actually heard on the radio. Young sets the tone of "Revolution Blues" with an aggressive guitar. Danko and Helm in the rhythm section. Supposedly inspired by Charles Manson and perhaps told from his perspective. He goes after the Laurel Canyon Rich and Famous, Hollywood stars and his critics. I like angry Neil at times and this is my favorite song on the album. Side two which was supposed to be side one is the strength of this album. Young goes "Cowgirl in the Sand" in "On the Beach." Slow, grinding pace. Stark. Two guitar solos. The theme being the downside of fame; he's reached his pinnacle but it doesn't feel good. "Though my problems are meaningless, that doesn't make them go away." The last and longest song "Ambulace Blues" was unkowingly inspired by Bert Jansch's acoustic guitar playing in "Needle of Death." This song starts kind of in a country -way with the acoustic guitar. Add the harmonica and slide guitar. Young's very low voice tone. Far and away, the the most lyrical verses telling stories of things, events and people where things did not go too well including his criticism, Richard Nixon and CSNY. But, hey all things come to pass. This album is stark but I can't even say it's the most stark album Young has??? Every Neil Young album in this 70's time frame is worth a listen including this one. A high recommendation.

"São Paulo Confessions" is a studio album by Serbian-born musician, composer and producer Suba (Mitar Subotić). The randomizer was kind giving me this album a week after Bebel Gilberto's "Tanto Tempo," an album which Suba produced in the same time frame. Whereas the Gilberto album had some songs with more samba/bossa nova beats, this Suba album is more downtempo/chill and electronic. Born in Belgrade, Suba was awarded an international fund for a folk/electronic fusion album where he did research of Afro-Brazilian rhythms in Brazil and enjoyed it so much he eventually emigrated to Brazil. Besides the aforementioned downtempo/chill and electronic musical categories, this album also incorporates Latin and jazz influences. A number of Brazilian musicians and singers contributed. Great production on this album. Unfortunately, Suba died just as this album was released from smoke inhalation during a fire as he was rescuing various recorded tapes. "Tantos Desejos (So Many Desires)" starts things off with airy/dreamy keboards. Percussion. Definitely chillwave. A women singing. Interesting noises. A club-like feel. The Brazilian band Mestre Ambrósio helps out in "Antropófagos (Cannibals)." A deeper groove with the percussion. Electronic keyboards giving laser, bubble, jungle sounds. Softer keys layered on top. More dance-like. A cover of the Antônio Carlos Jobim/Vinces de Moraes "Felicidade (Happiness)" adds a bossa nova/samba beat-song to the mix. Enjoyable. A reverb electronic noise begins "Sereia (Mermaid)." Distorted percussion. Vocalist Cibelle comes in. More airy keys. Great production. A heavier rhythm percussion drives "Abraço (Embrace)." The keboards and guitar gives this more of a rock sound. A women initially is singing and then Arnaldo Atunes comes in with spoken word. Interesting. This album was a good listen. Great production. Both this and the Bebel Gilberto albums are worthwhile listens. It's very evident the talent of Suba and very sad he never saw the success of these two works.

"Lady Soul" is the 12th studio album from Aretha Franklin and has both cover and original songs. Standing out are the backing vocals from The Sweet Inspirations including Cissy Houston and Aretha's two sisters, Carolyn and Erma Franklin. The album was a huge success on the Billboard charts: #1 in Black albums, #2 in Pop and #3 Jazz. Strong backing vocals cascading from The Sweet Inspirations begin the album in the hit "Chain of Fools." Joe South delivers a great 60's-sounding guitar. She's one of her boyfriend's many girlfriends and she needs to break that chain. The pace is slowed in Curtis Mayfield's "People Get Ready." Aretha delivers a more soulful and gospel-like version with a great finish. A song of hope for freedom and heaven. Side one ends with the incredible "(You Make Me Feel Like) A Natural Women," written by Gerry Goffin, Carole King and Jerry Wexler. The piano. The strings and arrangement by Ralph Burns. The harmonies of Aretha and The Sweet Inspiration. The uplifting message of finding someone who makes you whole. Side two starts with two songs Aretha wrote; "(Sweet Sweet Baby) Since You've Been Gone" was the third single and brings the groove. Horns. And, of course, Aretha brings it as well. Eric Clapton adds a bluesy/soulful guitar to "Good to Me As I Am to You." Horns. No backing vocals as Aretha ends wailing. She's given everything but gets nothing in return. The album ends with my favorite song on the album and one her sister, Carolyn, wrote "Ain't No Way." With the horns, an almost baroque pop ballad start. Maybe, Aretha's most emotional vocal performance. Soulful. Beautiful. How can I love you if you're tying my hands. Just a few weeks ago I had Aretha's 1967 album "I Never Loved a Man the Way I Love You" which was I liked a lot. I like "Lady Soul" more. More soulful. Her voice fits the music perfectly. An album absolutely worth a listen and owning.

"Happy Sad" is the third album from American singer-songwriter Tim Buckley. The album was produced by former Lovin' Spoonful members Zal Yanovsky and Jerry Yester and began Buckley's more experimental phase of his career incorporating more jazz elements and changing his song structure. He also wrote all the lyrics himself which was a change. The music is classified as pyschedelic jazz and jazz fusion. For this album, I also toss in jam band. Quite a variety and quite an interesting listen. The album-prominent vibraphone starts "Strange Feelin'." The song was inspired by Miles Davis' "All Blues." We have a bluesy-pyschedelic electric guitar. A vibraphone jam. Buckley has a great voice and here he starts to croon and use almost as an instrument. "Buzzin Fly" was written earlier and with the electric guitar fits perfectly in the pyschedelic folk category. A more pop-song structure. He comes and goes as a bee but he misses her. And then we come to the nearly 11-minute long "Love From Room 109 at the Islander (On Pacific Coast Highway)" with the underlying ocean noise overdubs. Much slower. Very, very jazzy. A song about loneliness and missing someone. The second side also has just three songs. "Dream Letter" continues in the jazz vein and the pace almost comes to a standstill. An apologetic ode to his ex-wife and son Jeff. Things get really interesting in "Gypsy Woman" which essentially is a jam-band song. More funky. Loud and somewhat annoying percussion. Groovy double bass. Buckley sounds like he's singing in a bathroom. Hey, I need my bead door curtains back. The last song "Sing a Song for You" showcases the very gifted and strong voice of Tim Buckley. More a ballad. He's got his demons which she can't handle so just sing her a song. This was my first listen Tim Buckley, believe it or not. I like his son Jeff's music a lot. I liked this too and know there's a few more of his albums coming. Good. Recommended for anyone interested in a combination of folk, jazz, jam band and pyschedelic music. That's most of you? Right? Right!

"Let England Shake" is the eighth studio from PJ Harvey. The album was recorded in a Dorset County church in five weeks and won the 2011 UK Mercury Prize. Lyrically, this is an intense affair as PJ sings about war, portraits of war and the devastation of World World I typically from the vantage point of a soldier. Speaking of singing, PJ uses a much a higher octave-voice almost a like little girl than her previous more mature voice. I think it works extremely well. PJ spent a few years researching World War I and modern soldiers who were in Iran and Afghanistan. Quite an effort and it pays off big time. A rolling beat and autoharp start "Let England Shake" almost sounding like The Doors which is no accident since she listed them along with a lot of others as influences for this album. The PJ high octave voice. Commenting on those who lost their lives in the Gallipoli War. Multiple singers give the second single "The Glorious Land" almost a sing-along feel . Although with the horns and guitar this ends up more a March. About America bombing Japan. The autoharp which she learned to play proir to this album stands out in the first single "The Words that Make the Murder." Happy sounding music as she sings about the atrocities of war. As many of you know, I'm a fan of dichotomies and contrasting things. In the second half, PJ rips off a few rockers and I thought I might be listening to "Rid of Me." "In The Dark Places" rocks with an electric guitar, builds tension and features a trombone. A soldier wakes up, scans his war field and ends with him hiding in the forest with his gun. "Bitter Branches" continues with a fast-paced guitar. PJ screaming. We're back to 1992 PJ. A soldier dying and will eventually be in the ground. "Written on the Forehead" is the third single and probably my favorite song on the album. Dreamy-like with piano. We're back to high-pitched PJ. Emotional. Beautiful in its sound. More about war images in the Middle East. A background voice talking about fires and ending with PJ singing "Let it burn." This is a great album. It might be my favorite PJ one and she has some very, very excellent albums. A must listen.

"Vivid" is the debut album by American band Living Colour. This album was described as hard rock, funk metal, alternative metal and heavy metal with elements of funk, jazz, soul, avant garde jazz, arena rock, punk and rap. Woah, I'd say just say everything but country; however, I did hear a twangy slide guitar in one song so add that. The band really had to work to get signed and this album released. Being an all Black band, they had trouble getting signed by a major label since the labels thought they were too Black for rock audiences and and too rock for Black audiences. Mick Jagger actually helped them after hearing the play and giving them spare studio time. They eventually got signed. The album moved slow too, finally reaching the Billboard charts ten months after its release and peaked at #6. All the musicians are great but the guitar playing of Vernon Reid is just fantastic. He's all over the place with multiple riffs, solos, styles...heck, within a song. The lyrics tend to be social commentaries, sometimes serious and sometimes comical. Their hit "Cult of Personality" starts things off with a Malcolm X speech and then Reid's guitar just explodes. A pounding rhythm with Will Cahoun's drums. Shreading guitar solos. A fine line between charisma and megalomania and the slippery slope between faith in leaders and being subservient to them are the themes. "Middle Man" was actually the first single released. Very catchy guitar chorus and riff. A solid rhythm section. He wants to be his own man. Lead singer Corey Glover gives a more soulful voice to "Open Letter (To a Landlord)." The song commenting on gentrification of neighborhoods specifically working-class. "Funny Vibe" is a good example of multiple styles. It starts hard and fast almost thrash metal and then out of nowhere goes funky. And then we have Chuck D and Flavor Fav joining in the rap. A sort of serious and funny poke at racial profiling. Another funky song which I remember quite well is "Glamour Boys." A happy song with its guitar and for some reason a tropical feel. Glover making fun of the aspects of high society guys with their clothing, action...all smoke and mirrors. I liked this album a lit when it came out and it sounded great today. I also recommend their next album "Time's Up" which I think is just as good.

"Brutal Youth" is the 14th studio album from Elvis Costello with either the Attractions, the Imposters or the Costello Show. This is the first one with the Attractions since 1986's "Blood and Chocolate" and a few songs sound like they could have been on that album. Nick Lowe actually appears on about half the songs playing bass. Most of this album is vintage Costello: great lyrics, storytelling and a rockin' solid band. The keyboards open "Pony St." and the band kicks in hard. Drummer Pete Thomas is just killin' it. A daughter with wild parents. Costello tells a grim story in "Kinder Murder." Great off-key guitar. A guy in the army impregnates a woman, forces an abortion and then kills himself. No light-heartedness here. The third song "13 Steps Lead Down" continues the rock. A searing guitar. Pounding drums. I think about falling off the 12th-step addiction program with the 13th step being the falling off. "You Tripped at Every Step" is a slower, sadder song. Piano led. A story about an alcoholic girlfriend possibly his then wife Cait O'Riordan. Back to rockin' and even angry Costello in "20% Amnesia." Costello screaming. People forgetting the small things, the 20%, including what and who to vote for. "My Science Fiction Twin" is more classic Costello. Organ/piano led. Driving rhythm section. Nice guitar placement. A division between private and public persona. A piano ballad in "Favourite Hour" concludes the album. Costello crooning. Time passing by and death. We finally get the "Brutal Youth" lyric. I honestly kind of gave up on any new Elvis Costello after 1989's "Spike." My loss as this is an outstanding album and stands up with his 80's best.

"Rock 'N Soul" is a studio album by American singer Solomon Burke also referred to as "The King of Rock 'N Soul," "King Solomon," "Bishop of Soul" and the "Muhammed Ali of Soul." Burke embraced the interconnectedness of rock and soul. This album was originally released as an LP as Atlantic Record #8096. This album is sort of a compilation of his songs including seven top 100 hits. Burke has a fabulous soulful voice mixed with more rock-pop sounding music "Goodbye Baby (Baby Goodbye)" starts strong with female backing vocals which then harmonize with Burke's voice. Right away he earns his nicknames. One of his biggest songs "Cry to Me" has Burke begin in almost a whisper. He then goes loud and back soft. With the piano, more of a rock song. Honestly, not the best sounding production and mix, kind of muddled. "If You Need Me" is a great example of a rock and soul mix with the music and vocals. "Beautiful Brown Eyes" is romantic and soulful with the horns. The album ends with my favorite song "He'll Have to Go." Strings are added. It's slower. He's telling his girlfriend her other guy will have to go. This is a great album if only just listening to Burke's voice. The music has that early 60's sound. Sometimes not the best quality production/mixing but worth it for the overall music.

"Emperor Tomato Ketchup" is the fourth studio album by English-French band Stereolab (although they also had complilation albums and singles released). The album was named after a 1971 experimental film by Shūji Terayama. You can categorize this as experimental pop-rock. On this album, they experimented with composing songs around loops as opposed to riffs; the keyboards definitely are forefront here. A lot of the songs start simple and build with layers of vocals and keyboards. The layered vocals of Lætitia Sadier and Mary Hansen are highlights. This is an outstanding album and one of my favorite in that mid-90's time frame. There is a scratching-sound start to "Metronomic Underground" which continues throughout as a loop. The rhythm is almost groovy. The layered vocals. Criticizing war. Strings start "Cybele's Reverie" but this is a more straight-forward rock-pop song. Happy sounding with the guitar. The loss of innocence and wonder from childhood. A classic keyboard-bass loop and chorus drive "Percolator." Maybe, the one Sterolab loop I can't get out of my head once I hear it. I liked the way in the first four songs, the English-named songs are sung in French and the one French-named song is sung in English. My favorite song on the album "The Noise of Carpet" starts rockin' with the distorted guitar. More straight-forward pop-rock. The layered vocals are excellent. Weird keyboards noises. Trying to provide hope to a cynical person. "Emperor Tomato Ketchup" kind of reminds me of a mix between a Talking Heads and Wilco song. Repetitive and drving rhythm. Weird synth noises effective again. They go into baroque pop territory on "Slow Fast Hazel" with the strings. Beats change. A beautiful sounding song. Perhaps going into some Marxism here with the lyrics. I like most of the Sterolab I've heard. This album is at the top for sure. Worth a listen for everyone.

"Joan Armatrading" is the third studio album from British singer-songwriter and musician Joan Armatrading. This was her first self-penned album. It was produced by Glyn Johns who said this was the best album he had ever been associated with and he had worked with The Rolling Stones and The Beatles. The music is classified as folk rock and pop but also has elements of jazz, soul, funk, blues, country and R&B. Some of the backing bands members included those of Faiport Convention and Kenney Jones. An acoustic guitar and piano begin "Down to Zero." Joan's searing souful voice. A steel guitar comes in giving a country feel. The song actually sounds a little like one of her musucal influences, Van Morrison. A break-up song. Strings added to "Love and Affection" giving it a gorgeous and beautiful majestic atmosphere. Joan's emotional voice. The great backing vocals-gospel. Alto sax as the music builds. Outstanding lyrics: "I am not in love but I'm open to persuasion." "Join the Boys" swings between jazz with the piano and funk with the beat and organ. She wants someone but tells them to go the boys. Joan goes to a higher voice register on "Somebody Who Loves You." Acoustic guitar. Slow. At times almost easy jazz. A love song, sultry lyrics. The album ends with "Tall in the Saddle." A song which is jazzy and slow goes bluesy with a great guitar solo and finishes funky as the pace picks up. She had fun, fun, fun, with her lover but her lover needs to go. Another great song. This is an outstanding album. No weak songs and some songs transition within to different styles. Joan's great vocals and lyrics. The lyrics are more general and big pictures than storytelling. Great production. A tight band. A very high recommendation.

"In the Court of the Crimson King" is the debut album by English rock band King Crimson and considered one of the earliest and most influential albums in the progressive (prog) rock genre. It is and was the only album with all orginal members including Grebg Lake (lead vocals, bass), Robert Fripp (guitars), Ian McDonald (woodwinds, piano, mellotron, organ, vibraphone), Michael Giles (drums, percussion) and Peter Sinfield (lyricist, illumination). They all had major roles and all produced this album. There have been various remixes and reissues. Pitchfork described this music as a hybrid of menacing rock, classical sophisticated, pastoral pyschedelia and free-jazz mania. I'll say, quite the journey. You can really go down the research rabbit hole on this one with the comparisons to Roman Emperor Frederick II and the content and art. I'd need at least a month to adequately take in. Side one or the below/earth/present side begins with "21st Century Schizoid Man." The sound of air which then kicks into a big music sound. Proto-metal riffs, jazz rock drums, the alto sax and Greg Lake's distorted lyrics. A guitar solo and a totally musical chaotic ending. Images of burning politicians/starving children and I think a commentary on the destruction of the Vietnam War and contradictory societal moral values. A monster of an opening song. "I Talk to the Wind" slows things down. Gentler vocals by Lake. A dominat flute. An outsider/elder talking (to the wind) and no one is listening. A dramatic start to "Epitaph" which then slows down going softer and then builds with the music and emotion. The mellotron. A Cold War commentary. Many think a transition song connecting the first and second sides. "Moonchild" kicks-off side two or the above/metaphysical past side. The first part is a ballad and the kicks in to a trippy space jam. Jazzy. Pyschedelic. Chill. Yeah! Abstract images with the moon as a center piece. The album ends with their single "In the Court of the Crimson King." Very dramatic. The mellotron riff. Now we're talking about the sun. References to colors, jesters, queens...very medieval. About death? A similar chaotic/dramatic ending just as the album starts. There can be a lot here in this album if you want to keep digging. The artistry and music alone is great without trying to figure out the meaning. An epic album and still sounding great, every bit its masterpiece reputation.

"Penthouse and Pavement" is the debut album from English new wave and synth-pop band Heaven 17 consisting of Glenn Gregory (vocals), Martyn Ware (piano, synths, percussion, vocals) and Ian Craig Marsh (synths, sax, percussion). Ware and Marsh formed this band after breaking away from The Human League. They actually first formed the production team British Electric Foundation which was credited with the production of this album. Critics called this electro-pop with good melodies. I'd agree there..very much sounding of the early 1980's. Although the singles didn't fare as well, the album stayed in the British Top 100 for 77 weeks. Side A or the Pavement Side starts with the first single "(We Don't Need This)Fascist Groove Thang" which was a song banned by the BBC for its commentary on the political Right particularly Ronald Reagan. A poppy song with a very quick beat and mechanical sounding which goes funky towards the end. A synth jam opens their second single, the title track "Penthouse and Pavement." This is kind of groovy. A very busy song with all that's going on. Female backing vocals. A cool guitar/synth ending. OK, this sounds a lot like The Human League. He's going the motions during the day and is free at night. "Play to Win," the third single keeps up the up the quick, poppy pace. Just go for it in life. "Geisha Boys and Temple Girls" open Side B or the Penthouse Side. It sounds like "Close Encouters" with keyboards and laser sounds. Well, we're in that era. I think about forget trying for boys and girls to get along. Their last single and far and away my favorite song on the album is "The Height of the Fighting (He-La-Hu)." A dance groove, mechanical. A deep male voice saying two words and the singer responding. Great, great vocal chorus repeating the title. Very similar to Depeche Mode. An anti-war song. A happy-sounding song "We're Going to Live for a Very Long Time" ends the album. Another song with a very catching chorus. A positive song about people living people together with opposite views. This album definitely throws you back to the early 80's with a few extremely good songs. I can't say this quite as good as The Human League's "Dare" released around the same time. This album is a great example of early 80's synth pop genre.

"At Folsom Prison" is the first live album by American singer-songwriter Johnny Cash. Cash had been interested in recording at a prison for a few years after recording "Folsom Prison Blues." Backed by June Carter, Carl Perkins and the Tennessee Three, Cash performed two shows at Folsom Prison from which this album was created. He was looking to turn his career around with recent limited commercial success and personal drug issues. And it did, hitting #1 on the Country Charts and #13 on the Pop Album Charts. What type of music? Well, this is poster child of outlaw country. An album that the Library of Congress added to Nationsl Recording Registry in 2003. "Hello I'm Johnny Cash" and a thunderous applause from the prisoners propels the start of "Folsom County Blues." It's hard to think of a more iconic album-opening moment. Cash's unique voice. The Tennessee Three rolling. "I shot a man in Reno just to watch him die." Another giant ovation. A line he had to remove for the single. He tells the story of a man arrested in Juarez, Mexico for cocaine and killing his wife in "Cocaine Blues." Talk about knowing your audience. Needless to say, another crowd favorite. Cash adds a bit of a humorous tone to the grim tale in "25 Minutes to Go" which tells the minute-by-minute story of a man headed to the gallows to be a hung. A Preacher. Waiting for the never-coming pardon. His neck in the noose. Yet somehow, Cash adds lightness. A simple ballad "Send a Picture of Mother" begins side two. Just an acoustic guitar. Not all the songs are about prison. June Carter joins Johnny in "Jackson"." Great interplay between the two. Going to Jackson to get married. "Give My Love to Rose" is a sad love song. Great story telling about a man in prison sending a letter to his love Rose and their son. The last song on the album is appropriately "Greystone Chapel," a song written by Folsom inmate Glen Sherley. More traditional country music. The backing vocals giving a soulful feel. Great guitar solo. A hopeful song about God and faith. The actual album ending is the associate warden telling the inmates to exit through the doors and you hear them exit. Very eery. I don't think you'll find a live album where you're just as interested in the audience reaction as the music. Or a better connection of singer to audience. Or just a performance overall. A one of a kind live album which he would repeat on several subsequent albums and an album everyone needs a listen to.

The heavy hitters keep coming this week. "Hunky Dory" is the fourth studio album from David Bowie which was primarily composed on a piano compared to his previous album "The Man Who Sold the World" which was composed via the guitar. Lots of interesting descriptions of this music and album, one of the best being, a fusion of British pop, orchestral works, art rock, folk and ballads leading to the start of glam. And, the beginning of Bowie's success and a blueprint for his future. The album actually did poorly commercially upon its initial release but that changed once 1972's "Ziggy....Mars" was released. A great album which featured besides Bowie, Mick Ronson (guitar), Trevor Bolder (bass), Mick Woodmansey (drummer) and Rick Wakemen contributed on piano. The first single and one of Bowie's most recognizable songs "Changes" starts Side One. The distinctive piano. The chorus. Melodic. Builds. Slows down. About aristic reinvention. Bowie has some very unsettling vocals on "Oh! You Pretty Things." It's piano driven. He mentions Aleister Crowley and Übermensch. I guess he talking about the occult and Nietzsche??? And, we eventually come to wonderful soaring ballad "Life on Mars." A string arrangement. Actually about the US and USSR's race to get to Mars. "Kooks" is a lighter song about the birth of his son Duncan. Love that trumpet. "Quicksand" is one the absolute album highlights for me. Trumpet. Sax. Multi-layers of guitars. Piano. About his lack of inspiration and how to access it. The second side has three tribute songs, ""Andy Warhol," "Song for Bob Dylan" and the best one "Queen Bitch" for Lou Reed. Just a killer guitar riff in "Queen Bitch." And how can you not like a lyric using "Bipperty Bopperty Hat." "The Belway Brothers" ends the album. A weird, eerie song. Cryptic lyrics which are muffled at times. Apparently about his schizophrenic brother and him. An interesting finish. "Hunky Dory" is a top three Bowie for me along with "Ziggy...Mars" and "Low." A must listen for all music fans.

"Be" is the sixth studio album from Chicago rapper Common. It was primarily produced by Kanye West and was Common's comeback album after his commercially disappointing "Electric Circus." It was critically well-received and described as lean, commanding and safe. I liked this album quite a bit...at times very uplifting and great production. Common said this album was titled to just "be" who you are. "Be (Intro)" begins the album with a bass jam which goes melodic. The music reminded me of the 70's. Uplifting. He wants everyone to be free from the everyday burdens and "reach for the skies." The tone gets a little more serious on "The Corner." More beat driven. Featuring spoken word lyrics by The Last Poets , Kanye West backing vocals and sampling The Temprees and The Temptations. The corners used to be the Rock of Gibraltor of the neighborhoods. Now, they're places drugs deals are made. Great song. Things lighten up on "GO!" John Mayer actually in the backing vocals along with West. More R&B and easy listening. OK. I think one of the highlights of the album are the backing vocals of John Legend and he adds a lot to "Faithful." A gospel toe song and another single. Common's best storytelling is in the compelling "Testimony." The story of the trial of a guy where as the trial concludes, his queen pin lady laughs obviously she being the guilty person. The albums ends with two really good songs. Great vocals including West and Legend in "They Say." Another smooth sounding song. The last song is the soulful, uplifting "It's Your World." Be who you are! Don't give up the dream! Kid's singing. A man with a deep voice almost preacher-like finishing. A nice way to end. This was a really good album. I did appreciate the length at 42 minutes. Some albums in this era and the hip-hop genre (and others as well) extend well beyond that challenging multiple listens (within a day). Not so here. Recommended.

"Miriam Makeba" is the self-tiltled debut album by South African singer, songwriter, actress and civil rights activist Miriam Makeba. The music style is classified as Afropop, jazz and world music. I'd also add calypso/carribbean (which actually is orginally based in Western Africa). Along with her incredible voice and range, the variety of style is a strength of this album. In 1959, Miriam sang the lead-female role in the Brodway-inspired South African jazz opera "King Kong." That helped her get signed to RCA Victor and record this album. Despite critical acclaim, this album commercially did poorly; her career would, thankfully, flourish in the mid to late 60's. About half the songs are sung in her native Xhosa language. Miriam's strong vocals begin "The Retreat Song." Just a guitar and great backing vocals by the Belafonte Folk Singers. A more South African sounding song Miriam wrote sung in Xhosa. "The Click Song" is a traditional song of the Xhosa people sung at weddings to bring good fortune. Another distinctive South African sounding song, again with great lead and backing vocals. I did like the clicking sounds imitating the darkling beetles which the song is named after. Another great cover song is her version of the 1939 Solomon Linda "Mbube." I'm like I've heard this before. Yes, it's what "The Lion Sleeps Tonight" was based. The Chad Mitchell Trio joins adding to a very busy and fun song. The album starts to incorporate more styles in the second half. She sings "The Naughty Little Flea" in English. The style is more in Calypso Carribbean. The Belafonte Folk Singers add to the backing vocals again. We have a flute too. Another cover in "The House of the Rising Sun." Miriam really goes slow, soft, jazzy, piano bar here. An interesting version. Towards the ends, she teams up with Charles Carl Carter (I believe) in "One More Dance" which I'd call a comedy song. Let's have one more dance before I go home to my old, dead husband. I like it. This is a beautiful sounding album with Miriam and all her backing vocal collaborators. It's not hard to see why she became successful. This was a fun album to listen to a Monday morning.

"Car Wheels on a Gravel Road" is the fifth studio album from American singer-songwriter Lucinda Williams. The style of music is a mixture of country, pop, blues and folk and really one the albums that began and popularized the Americana/alt country genre. Yeah, when you begin a genre that's a pretty big thing and this album is worthy of that. There are guest appearances by Steve Earle and Emmylou Harris and were multiple producers in Earle, Roy Brittan, Ray Kennedy and Lucinda herself. A good description of the album are themes of heartbreak, love and losing formers lovers and friends with imagery of traveling through/in cities in the US South. The album won the 1998 Grammy for Best Contemporary Folk Album and Village Voice voted it the best 1998 album. Well deserved. A twangy guitar and Lucinda's exhausted voice begins "Right in Time." A great melody and pretty much a perfect sounding pop song. About her losing someone that you thought was perfect for you and, then, ummm, about enjoying yourself thinking about him. Lucinda adds some urgency in her voice to "Drunken Angels." Boy, the layered guitar production is great on this album. A more rock song. The song is about musician Blaze Foley who was shot by his friend's son in a drunken fight. The guitars give "Can't Let Go" a jamming, grinding feel. Great slide guitar and guitar solo. A guy left her and she can't forget about him. "Still I Long for Your Kiss" has a country-rock vibe. Some more great layered guitars and solos. Another song about not wanting to let someone go. Lucinda gives a rap singing style to "Joy" with bluesy guitars and a slide guitar. She traveling from town to town and about a former lover. The album concludes with the soulful/gospel-esque ballad "Jackson." She's traveling from Lafayette to Baton Rouge to Jackson trying to convince herself she won't miss her boyfriend. The album sounded absolutely great not aging since 1998. The production is fantastic and the album just moves along. Multiple styles heard but really in its own category. A must listen.

"Straight Outta Compton" is the debut album by Compton, California rap band N.W.A. The album is credited as triggering rap towards hardcore and gansta rap with lyrics depicting street violence and attacking police and just about anyone else getting in their way. It was produced by N.W.A. members' Dr. Dre, DJ Yella and the Arabian Prince with music incorporating horn blasts, funk guitar riffs, sampled vocals, turntable scratching and a Roland TR-808 drum machine. Other N.W.A. members included Ice Cube, Easy-E and MC Ren. One thing that I do like is the uniqueness to each rapper's style. This album was added to the National Recording Registry for its artistic significance by the Library of Congress. "You are about to witness the strength of street knowledge" and we're off with "Straight Outta Compton." The scratching, the sampling (six songs). Each rapper's takes turn introducing themselves in the N.W.A. gang. When I first heard Ice Cube rap "So when I'm in your neighborhood you better duck cause Ice Cube is crazy as fuck" I fell out of my chair. Great line! "Fuck tha Police" drew an actual FBI warning. The song is about police harassment and their retaliation. Scratching and Dr. Dre begins the court trial parody. Ice Cube, Easy-E and MC Ren take the stand and tell the story. "Gansta Gansta" is more groovy with the sampling. Again nice scratching. Lookout they're shooting at anyone and everyone. "If It Ain't Ruff" continues the funk and groove going. MC Ren delivering the rap with great rhythm. "Express Yourself" is a little lighter, more poppier. Dre at the mic. Be who you are. Great sampling of "Express Yourself" by Charles Wright & the Watts 103 Street Rhythm Band. The album ends with a fun, upbeat "Something 2 Dance 2." The band is having fun...dancing, talking about girls. Great sampling a of a few dance songs. I always thought this album was fun; I guess I never took some of the lyrics as serious as others. It does go after police brutality which is a serious subject. And, yeah, it does probably go too far in some areas for today (misogynistic). The gansta rap genre would get a lot, lot more serious in the near future. This album does sound of its time ( the 80's) but a lot of the samples still sound great (P-Funk, Beastie Boys, Marvin Gaye, James Brown) and I enjoyed listening to it again today.

If you're growing tired of sappy, cheery Christmas music, I have the solution for you. "Vulgar Display of Power" is the sixth album from American heavy metal band Pantera. This was their second album moving away from glam and hard rock to more thrash and harder metal. The mission was successful. The album received mass critical acclaim especially for Diamond Darrel's Dimebag) guitar riffs. The overall bands performance is pretty relentless from start to finish too. Other band members include vocalist Phil Anselmo, bassist Rex Brown and drummer Vinnie Paul. The album title comes from the 1973 film "The Exorcist:" when the Priest asks the little girl "If you the Devil, why not make the metal straps disappear?" And the girl responds "That's much too vulgar a display of power." How Heavy Metal. Dimebag's hard, heavy guitar riff begins "Mouth of War." The drums and bass kick in adding to the grind. Anselmo growls. Anselmo screams. A hard, fast song. Not the last. Overcoming the past and self-esteem and living for yourself. The second song "A New Level" is lyrically similar. The band speeds up the pace. Screeching guitar. A searing guitar solo. Another great Dimebag riff and groove drive "Walk," one of their bigger songs. The song is towards people who thought rock stardom got to Anselmo's head and telling them to take a walk. Let's up the ante and go total thrash and speed metal and they do that on "Fucking Hostile." Needless to say, Anselmo is even angrier, lashing out against the police, priests and parents. And belief it or not, we have a ballad in "This Love." Now this is how you do a eerie, haunting and rocking heavy metal ballad. Anselmo screaming "You take this love, love, love." About a past relationship. It sounds like not a good one either. The band kicks it hard on the next four songs and the album actually ends with another ballad "Hollow." It is apparently about a friend fatally injured in a car crash on life support and how seeing him was so hollow. At the start, the music sounds like "Ride-the-Lightning"-era Metallica. Anselmo is also singing (wow) and sounds like Queensrÿche's Geoff Tate. The song transforms midway through to more thrash. An appropriate way to end. Dimebag said they wanted to create the heaviest album of all time. They just might have done that. This has been consistently rated as one the best heavy metal albums of the 90's. I'd agree and say probably of any decade or time. A must listen for any one remotely interested in heavy metal. And if you're not, you suck....sorry, still listening to the album.

Somehow I think the randomizer was not so random today. I'll probably get this again next year near this day too. "A Christmas Gift for You from Phil Spector" is an album of Christmas songs treated to Phil Spector's wall of sound, produced by Spector and recorded by Spectors' regular artists (Darlene Love, The Ronnettes, The Crystals and Bob B. Soxx & the Blue Jeans). The album was originally named "A Christmas Gift for You by Philles Records." It was released on the day JFK was assassinated and initially did very poorly commercially. Since then, there have been multiple, multiple re-repressings and reissues. Interestingly, an original vinyl pressing can go upwards of $400-$500. Some of thee song versions are iconic and the versions we think of today. A number of these song versions have been covered by other artists. All these songs sounded great with the production. Darlene Love starts things off with "White Christmas." Her fantastic voice. It's got a groove. The strings. The backing vocals. The bells. The Crystals deliver along with the horns on "Santa Claus is Coming to Town." Continued great production on "Sleigh Ride" performed by The Ronnettes. Great vocals. Bells. Bass. The Groove. And horse sounds! The Ronnettes' vocals are outstanding on "I Saw Mommy Kissing Santa Claus." Strings add to the song. OK, Darlene Love, you might just have sung the best version of "Winter Wonderland" I've heard. And she keeps it going with the fantastic "Christmas (Baby Please Come Home)." Obviously, Bono was listening...I didn't need to say that. The album ends with "Silent Night" where Spector thanks everyone and wishes everyone a Merry Christmas. Fading strings and backing vocals conclude the song. If you're not a holiday mood, this is the record to listen to. Far and away, the best Christmas collection of songs I've heard. And, it is an album with the production connecting the songs. I don't typically buy a lot of Christmas albums/music but this is one I'd buy right now. Maybe, Santa will bring me that $400 to $500???

"Bitches Brew" is a studio album by American trumpeter, composer and band leader Miles Davis. It was his second album experimenting with electric instruments including the electric guitar and piano and arrangements more rock (than jazz). The album is credited as a progenitor of jazz-rock and influencing 70's crossover musicians. Yeah, there is a lot going on in each of these songs. The recording took place live over three days with all the musicians sitting in a half circle. Davis gave the musicians three chords which to improvise off of. He had a unique and big rhythm section: two bassists (Dave Holland, Harvey Brooks), two to three drummers (Jack DeJohnette, Lenny White, Don Alias, Billy Conham), two electric pianos (Chick Corea, Joe Zawinul) and a percussionist (Don Alias). The other musicians used this rhythm section to improvise off and were: Davis-trumpet, Wayne Shorter-soprano sax, Bennie Maupin- bass clarinet and John Mc Laughlin-electric guitar. This album is also known for its extensive tape editing including tape loops, slicing, reverb and echoing effects. It was Davis' highest charting album reaching #35 and won a Grammy for Best Jazz Ensemble Album. "Bitches Brew" is a double album with six songs. You could write a book on all that goes on in each of these songs. "Pharoah's Dance" begins the adventure with the percussion (congas), bass and electric piano creating a dreamy atmosphere. The trumpet comes in at the 2:45 mark. The drums are added and we are defintely in rock-jazz fusion. It's goes jazz and then slows up. An explosive trumpet at the end. Whew!!! The things that stand out to me in the 26-minute long "Bitches Brew" are the echoing/reverbing trumpet/horns, the guitar giving a pyschedelic vibe and all the instruments going off..very chaotic. The percussion, bass, drums, piano and guitar lay a funky groove to "Spanish Key." The trumpet and horns play off that groove. The song continues more exploration in that rock-jazz fusion. Great guitar. The guitar is also the centerpiece of the more bluesy "John McLaughlin." Bluesy at the start at least and then ventures into more jazz improv. The instruments volume turned down giving it a more subtle feel. The bass, drums and guitar give another bluesy start to "Miles Runs the Voodoo Down." And here Miles' trumpet is leading the charge with all other instruments playing off him. Then John McLaughin on the guitar takes over. Back and forth until the pace picks up and Davis ends it with a great solo. "Santuary" concludes the album and is best described as a jazz ballad. Davis' trumpet and the electric piano dominate the song with all other instruments playing off them, sometimes coming to the forefront. An appropriate last trumpet note ends the song and album. This is quite the music listening experience. Lots going on. I obviously appreciated the sheer talent of the musicians but also the change of tempos, lead instruments (and lead instrument changes) and general improvisation. Some may find it too chaotic and unfocused bit I think that exactly its point. A great album.

"Live at the Witch Trials" is the debut studio album by English punk/post-punk band The Fall. This album was recorded in a single day and mixed by Bob Sargeant. Impressive. At the time the album was released, only vocalist/guitarist Mark E. Smith remained from the original band formed in 1976. This is a unique and eerie sounding album. Both qualities I like in an album. Eerie guitars open "Frightened." An interesting, slower beat. He's in a trance from doing drugs. The drug-theme continues in "Crap Rap 2/Like To Blow." We're pretty much in punk territory here with the pace. Great bass. Scratching guitars. Smith screaming "I Like to Blow." The band gets more of a groove going in "Rebellious Jukebox." Great guitar chorus. A song very much of its late 70's/early 80's time. Smiths' stance against prevailing trends. They're back to drugs in "No Xmas for John Quays." And back to more straight-forward punk. A dark song. Hüsker Dü was listening. There is no Xmas for junkies. A high-pitched guitar starts "Industrial Estate." A punk beat. Smith commenting on the pollution from industry. I dug Smith's I-dont-give-a-fuck tone. He uses that quite a bit. "Futures and Pasts" is more pop-punk. A guitar sounding like a keyboard carries the melody. Smith offers a depressing view of both the past and future. Oh, how punk. And they continue the "Oh-how-punk" attitude on the album closer "Music Scene." Heavy bass and drums. Guitar sounding quite a bit like early P.I.L. A tirade against the music industry. They purposely made it 8-minutes long as a statement and to piss people off. They should have made it 25 minutes. I liked this album quite a bit. I've liked most things I've heard from The Fall. Bits sound like other bands but The Fall is very unique. I know there's a few more Fall albums upcoming and I'm waiting.

"One World" is the seventh studio album by Scottish guitarist and singer Iain David McGeachy known professionally as John Martyn. The album was recorded outdoors at Island record owner Chris Blackwell's (also the producer) Berkshire Farm. Martyn had become disillusioned with the music industry but was revitalized after a prior trip to Jamaica and meeting and playing with various people including Lee "Scratch" Perry who co-wrote a song appearing on the album. Also appearing on the album are musicians Steve Winwood (various instruments), Danny Thompson (bass), Hansford Rowe (bass) and Rico Rodriguez (trombone). This music style is very unique incorporating various guitar effects including echoing, heavy bass, Moog synthesizer and influences from dub music and Lee Perry. It sounds like a mixture of pop, jazz, experimental and world music. This album is credited as originating trip-hop. "Dealer" begins things and right away there's a lot going on. Prominent bass. The Moog synth. Reverb guitars. Flutes. Martyn's scratchy voice. Kind of funky and World music sounding. I think obviously about a drug dealer. "Smiling Stranger" is another "big" sounding song. Guitar with the effects. Sax and strings are also added. Never trust a smiling stranger. "Big Muff" was co-wrote with Lee "Scratch" Perry and we have reverb heavy guitar. A great groove with the bass. The second side is love song focused. "Certain Suprise" is samba-esque and very smooth jazz. More strings and a trombone. "Dancing" was the only single and has a swinging rhythm. A plea to his wife and sounds like latter-day Peter Gabriel. The nearly nine-minute "Small Hours" concludes the album. Very ambient. You hear water. You hear geese sounds. More of his echo guitar. Very chill. This is my first venture into John Martyn. A lot going on musically and the future influence is apparent. A great sounding and orginal album. Recommended for anyone willing to venture into jazz, ambient, dub, world and other experimental musical styles.

"Pieces of the Sky" is the second studio album and major debut by American country music artist Emmylou Harris. It was the album that launched her career and included a fairly eclectic selection of original and cover songs. During the recording, Harris was still reeling from the death of Gram Parsons who had a major influence in the direction of her career. The album was produced by Brian Ahern and recorded with a mobile studio set-up in a Beverly Hills house. Ahern also helped bring in a stud group of musicians: members of Elvis' Vegas band, James Burton (guitar legend), ex-Cricket Glen Hardin (piano, string arrangements), Eagles' Bernie Leadon (guitars, banjo), Little Feats' Bill Payne (Piano) and ex-Dillards' Herb Pedersen (guitars, vocals). This is a fantastic sounding album and, needless to say, Emmylou's vocals are terrific. The album begins with a very rollicking country sounding song in "Bluebird Wine." Guitars. Banjo. Fiddle and a fiddle jam. Things slow down in the cover of "Too Far Gone," a 1967 hit for Tammy Wynette. A ballad with piano and strings. Subtle guitar and guitar solo. Emmylou made the 1958 Louvin Brothers' cover "If I Could Only Win Your Love" a hit. It's essentially a duet with Herb Pedersen. Very country-rock. A mandolin jam. Yes! "Boulder to Birmingham" is a song Emmylou wrote about Gram Parsons. A sad, beautiful song and hands down the best song on the album. Great, strong vocals and backing vocals. Soulful. Slide guitar. Kacey Musgraves needs to cover if she hasn't already. Dolly Parton covered. The second half of the album is dominated by more heavy-hitter covers. She goes more straight-forward country covering Merle Haggard's "The Bottle Let Me Down." She gives a great vocal performance in Dolly Parton's "Coat of Many Colors." Had to attempting to cover this. Also great backing vocals and acoustic guitars. An interesting choice in Lennon/McCartney's "For No One" but the arrangement is great and I don't think Emmylou could ever sound really bad on any song. The album ends with the fun "Queen of the Silver Dollar." Very pop sounding. Of note, Linda Ronstadt singing back-up. This was a enjoyable and fun album. One outstanding original in "Boulder to Birmingham." And Emmylou (as well as the producer Ahern) flexing her vocal and musical muscles and talent on the rest.

"MTV Unplugged in New York" is a live album by American rock band Nirvana. I think this is also the first album I've had from the so-called 90's grunge-era bands although I would not put this album or performance in the grunge category; it's well beyond that. The performance was recorded at Sony Music Studios in New York in 1993 and was directed by Beth McCarthy. Nirvana was not a big fan of the Unplugged series since they felt it was arena bands playing their hits acoustically, so they picked lesser known songs and fairly obscure covers. Good move as some of these song versions are the ones you think of when hear the song's name. The core band was also joined by guitarist Pat Smear, violinist Lori Goldston and the Kirkwood brothers of the Meat Puppets. The album was released seven months after Cobain's death and as an eerie side note, Cobain asked the stage to be decorated with stargazer lillies, black candles and a chandelier. The producer asked him "Like a funeral?" Cobain said "Exactly like a funeral." The album went on to win the 1996 Grammy for Best Alternative Music Performance. The album begins with a song off their first album "Bleach" and "About a Girl." This is one of those songs that I think of this as the definitive version. Right away you hear the strain in Cobain's voice which he would use to great effect later on. Nirvana covers the Vaselines' "Jesus Doesn't Want Me for a Sunbeam." Novoselic on accordion. Grohl on bass. The song builds and is my favorite performed song on the album. I went out and bought the Vaselines' album after hearing this. That's a pretty good album too but didn't make the challenge cut. Damn! I think their cover of David Bowie's "The Man Who Sold the World" is heads and tails better than the original. I remember going back, listening to the orginal and thinking "they did this with that song?" Cobain goes electric and Novoselic's bass is the star as it's brought to the forefront. "Something in the Way" was not included in the aired MTV performance, a shame as it's one of the front runners for best song on the album. A haunting performance with the violin and tuned-down acoustic guitar. Cobain's voice gives me chills every time I hear this. Of the three Meat Puppet covers, "Lake of Fire" is my favorite. Cobain voice strains. The Kirkwood Brothers' guitars are excellent. A pretty bad-ass song from them on their second fabulous album "The Meat Puppets II." And then Nirvana kills it on "All Apologies," another defining-song version. The bass, the soft drums, Cobain's breaking voice. Yeah, probably their best original song on the album. And the album appropriately ends withe Lead Belly cover "Where Did You Sleep Last Night." The song just builds. Cobain is steady and then just lets loose as he screams the verses and sounds just exasperated at the end. Woah! I remember at the time the only reason I watched MTV was for "Beavis and Butthead" and some of the Unplugged performances. I'd have to put this at the top of those performances. I also liked R.E.M., Soul Asylum and Alice in Chains. Their use of somewhat unusual covers in a live acoustic performance was very influencial; one of my favorite radio shows, Sirius XMU's sessions, has their performing artists end with a cover and usually it's the best song of the performance. Anyway, both a great album and performance to watch as well.

"Aftermath" is the fourth British and sixth US studio album by The Rolling Stones. It was recorded in California and with their previous success allowed The Stones more recording time. It is also considered their artistic breakthrough with all original compositions credited to Jagger and Richards. Many think artistically influenced by what The Beatles were doing. Lots of background on this album. The music itself goes outside of their previous Chicago Blues and R&B styles into pop, folk, country, pyschedelic, baroque and Middle Eastern especially with Brian Jones' use of the sitar, dulcimer, Japanese koto and marimbas. Lyrically, Jones and Richard explore themes of love, sex, desire, power, dominance, hate obsession and modern society. Some of the lyrics, even at that time, were viewed as misogynistic. One of the reasons was the women with whom Jagger, Richards and Jones were involved with and included love triangles, bad relationships and drugs. There were two different versions of the album released; due the US market, the US version is shorter. It also contains the song "Paint It Black" which the UK version does not. This album was also a big commercial success both in the UK and US. Since the randomizer showed the UK album cover, I listened to that version. The album begins with "Mother's Little Helper" about a housewive's dependence on drugs to get her through the day. Needless to say not the last drug song The Stones would write. That Eastern guitar riff. Rolling bass. "Stupid Girl" is about a bad relationship Jagger had and some put in the misogynistic category. The organ and electric piano are prominent. The third song "Lady Jane" continues the change of styles with this one more baroque pop. Jones' dulicer and Richards' acoustic guitar at the forefront. Hey, a romantic courtship..something positive. And then we come to one of the more challenging drinking game-songs around in "Under My Thumb." One must take a drink of their cocktail of choice every time Under My Thumb is said, which is 14 times. No, I didn't do it today....yet. Great groove. Jones' marimbas. Jagger still seeking revenge from a bad relationship. The first two songs on the second side, "Flight 505" and "High and Dry" return The Stones to more of the blues form. Poor Mick as he continues his women misery in "Out of Time." Brian Jones also continues his brilliance with the use of marimbas and a vibraphone. Maybe my favorite song on the album. I don't know exactly what Jagger is singing about but "I Am Waiting" is another great example of The Stones going into different styles: folk, baroque pop of sorts. I don't remember hearing "I Think." I must have. It is probably their most simple and straight-forward rock-pop song on the album. Great song and actually charted in the UK. I once owned (the US version) this on cassette, long gone now. I need to own this again. I know I didn't appreciate it at the time but the change of styles and especially Brian Jones are both fantastic. A must listen.

"Jagged Little Pill" is the third album from Canadian singer Alanis Morissette. It was a change in style from her two previous more dance-pop albums into more alternative rock with guitar, keyboards, harmonica and drum machines. Morissette co-wrote the songs with producer Glen Ballard; they recorded rough versions of the songs as they were written, later re-recording them. She signed with Maverick, the only label willing to sign her. And it paid off. This album was a huge success topping the charts in 13 countries and becoming one of the biggest selling albums of all time. It also won the Grammy for album of the year. "All I Really Want" begins the album with swirly guitars, harmonica and drums. Her lyrics are kind of stream conscience even comparing herself to Estella from Dickens' "Great Expectations." And her lyrics are a strength of this album. Very 90's sounding and I can't quite place the guitar riff. At first I thought it was the Toadies but it's someone else. Not so stream of conscious is "You Oughta Know," her breakthrough. Directed anger of betrayal at none other than Full House's Dave Coulier. Dave Navarro on guitar. Flea on bass. This song still rocks. Fuzzy guitar, a harmonica and a drum machine drive the second single "Hands in My Pocket." A song about contradictions and I think more about reluctantly growing up becoming adults. "We'll be fine, fine, fine, fine." "You Learn" has a great catchy chorus. Sometimes Morisette's vocal delivery can be annoying but hear it works to perfection. A smooth pop-rock song. About self-help and my favorite song on the album. And the fifth of six singles is "Head Over Heels." A ballad. Falling for someone she was scared to fall for. "Ironic" was actually the biggest sing on the album. I didn't know that. A pop-rock song. Clever lyrics about situational irony. Goes soft-hard-soft-hard. I'm always a sucker for that. I've always been middle of the road about this album. I liked the songs but was not over the top about them. It actually sounded really good today, somewhat dated. But, there really are a few great songs. The lyrics and production are solid. Sometimes her approach is overwrought and sometimes it works really well. I figure most of you will have gotten this album if you liked it and others didn't because you didn't.

"The Seldom Seen Kid" is the fourth studio album by Manchester, England band Elbow. The band self-produced, mixed and recorded the album. The style is classified alternative rock and art rock. I'd agree with that, especially the art rock as the songs are typically carried by strings and/or the piano. The album debuted at #5 on the UK charts and won the 2008 Mercury Prize. Very successful. "Starling" starts things off with piano, strings and backing vocals. It takes 2 minutes before lead singer Gus Garvey comes in. Subtle music but builds as it goes on. He's trying to get her to love him as he loves her. The single "The Bones of You" has a flamenco sound and groove and uses elements of the Gershwin's "Summertime." Garvey's voice comes in sounding a lot like Mark Hollis of Talk Talk. They get more bluesy on their hit "Grounds for Divorce." A nice Led Zeppelin-esque groove. Chanting. Clapping. About alcoholism. The song has been used in various TV shows and video games. "Weather to Fly" with its piano reminded me of a Sigur Rós song. A beautiful sounding song and my favorite on the album. Richard Hawley joins the band on "The Fix" about rigging a horse race. Hawley deep voice, the strings and piano add suspense. It sounds like it was written for a movie. Their second single "One Day Like This" is dominated by strings and the piano. The best string arrangements on the album. Very romantic lyrics in this love song. The album ends with "Friend of Ours." Garvey almost whispers singing about a friend who passed away. I had mixed reviews on the first listen but by the second time through I really enjoyed it. They sound somewhat like latter day TalkTalk, Sigur Rós and Richard Hawley but are pretty unique. If you like any of those artists and/or more piano/string-driven rock (hello oxymoron), you probably will like this.

"Live At The Apollo" is a live album by James Brown and The Famous Flames (backing vocalists) recorded at the Apollo Theatre in Harlem and released by Key Records. It was recorded at James Brown's expense and was a huge success reaching #2 on the Billboard album charts. It is also recognized as one of the successful examples of the Chitlin' Circuit which were venues in the US East, South and Midwest providing commercial acceptance of African American entertainers. Considered one of the best live albums ever, the album was also added to The National Recording Registry by the Library of Congress in 2004 and also the Grammy Hall of Fame in 1998. The album begins with Fats Gonder introducing James as the hardest working man in show business and also introducing The Famous Flames. And he probably was performing roughly 300 shows a year at the time. The horns and guitar begin "I'll Go Crazy" and we're off and running. James shouts "I Feel All Right." Fans screaming. Lots of fan screaming during this album. "Try Me" has great backing vocals and is more in the doo-wop style. James crooning. Horns come in at the end rolling right into "Think." More fast paced; they're groovin' now. Horn heavy and even clapping. The 10-minute "Lost Someone" slows things up. James screams, goes soulful and gets the audience involved especially the females. The next song is a medley of six songs including "Pleae, Please, Please" and "I Found Someone" It's pretty unique in its medley approach basically jumping from each song stanzas to the next song's. I guess that what a medley is. The medley transition right into the last song which is James Brown's version of Duke Ellington's " Night Train." More audience involvement. An interesting end with the horns and strings. I had the chance to see James Brown in the early 90's and didn't. Something I still regret especially after seeing the video of him at Bonnaroo from 2003. He still had it. This was a great pick-me-up on this gloomy/snowy Thursday.

"Superunknown" is the fourth studio album by American rock band Soundgarden and the second one with bassist Ben Shepherd. It was produced by Michael Beinhorn (first time for them). The album has the heaviness of their previous releases but adds elements of pyschedelia, pop and especially arena rock. The drums and bass were recorded first and the guitars and vocals were layered over them. Yeah, this is a big sounding album and a pretty powerful band at the their height. Kim Thayil guitar and guitar riffs are a big highlight for me. Some label this as quintessential grunge; I'd actually say their previous album was heavier grunge but some songs are firmly in that category. The album themes/issues cover revenge, seclusion, fear, loss, discovery, substance abuse, suicide and depression. The album was a major success topping the charts in the US, Canada, Australia and New Zealand. A whirly guitar, bass and drums come flying out of the gate on album opener "Let Me Down." This is a confident, rocking band. Vocalist Chris Cornell's sounds great on this song. The vocal and guitar layered give this a big sound. About crawling back into the womb to die, a la salmon. OK. A guitar riff begins the arena-rocker "My Wave." Fantastic guitar riff and chorus and interesting keys on this one. My favorite song on the album. Do whatever you want but keep it away from me and off my wave. And now we come to one of the bigger songs on the album in "Fell on Black Days." Another guitar riff open, more grungier. It's another interesting guitar key choice. Great guitar solo. A pretty depressing song lyrically. A very good under-the-radar song is "Superunknown." A catchy song. Guitarist Kim Thayil shines again. A more rock-pop song but still sounds heavy. Wobbly guitar begins their big hit "Black Hole Sun." Probably way over played on the radio stations I listened to at the time. An element of pyschedelia added. Cornell said he just played with lyrics and there's really not a meaning to the song. Drums and spoons drive the first single "Spoonman." Great guitar riff. A real life person in Artis the Spoonman. Another great guitar chorus and arena pop-rock song is "The Day I Tried Live." Cornell's best vocal performance in my mind. Trying to step out of being patterned, closed off and reclusive. An interesting song to check out is "Half." Bassist Ben Shepherd wrote and sings. Middle Eastern guitar. Don't give up. I actually like their previous album "Badmotorfinger" slightly more than "Superunknown." It's grungier and heavier but "Superunknown" is also a great album. The guitar riffs and choruses are fantastic and took Soungarden pretty much near the top of the rock world. This music fits Cornell's voice perfectly much better than anything he did after. It does suffer from the CD era coming in at over 70 minutes and could have been trimmed down.

"Music from Big Pink" is the debut album by The Band. The Band had been the backing band (The Hawks) for Bob Dylan during his 1966 tour. In 1967, they practiced and improvised with Bob Dylan on covers and originals in a West Saugerties, New York pink house basement rented by members Rich Danko (bassist, vocalist), Richard Manual pianist/vocalist) and Garth Hudson (organist). They then decided to record an album (without Dylan) and did so in NYC and LA. Other band member included Robbie Robertson (guitarist) and Levon Helm (drummer/vocalist). Their music combines a blend of country, rock, folk, classical, gospel, R&B, blues and soul. Yeah, this is quite a debut album and is credited with one of the spawning albums for Americana and roots rock. It was apparently also very influential for the future musical direction that Eric Clapton and George Harrison took. The album interestingly begins with more a dirge in "Tears of Rage," a song Dylan wrote. A distorted, wobbly guitar and piano start. Richard Manual's emotional voice. Lyrics of a father dealing with his daughter's rejection. Rich Danko takes over the lead vocals on "Caledonia Mission." We got soul and gospel from the organ and blues from Robertson's guitar. A guy is trying to save a girl from a religious cult and fails. Side two ends with "The Weight." The iconic acoustic guitar open rolling into "I pulled into Nazareth." Danko and Helm switching lead vocals. Soul, country, folk. They wrote the lyrics influenced by the imagery and stortelling of filmmakers Ingmar Bergman and Luis Buñuel and accounts of people they actually knew. The live version of this song with The Staples Singers on The Last Waltz is at the very top of my favorite live performances. A mammoth, overdriven, chaotic organ introduction begins "Chest Fever." Manual vocally leads a sort of funky song at times. A man gets sick when e spurns a lover. Danko and Dylan wrote "This Wheel's on Fire." No dominant instrument but a little more rockin' with the guitar riff. I do like the Julie Driscoll cover of this song and used as the TV them for British sitcom "Absolutely Fabolous" probably even more. Save that for a day when you're asked for a cover better than the original. You're welcome. The album ends with an absolute gem in "I Shall Be Released." Dylan also wrote about a prisoner being released. From what? Actual prison? Social issues? Themselves? Brilliant. Manual's soulful falsetto. Great backing vocals. Needless to say, I like this album a lot. I do think their next album is slightly better but the highs of this album are some of the best in music period. I also forget how versatile and talented this band was. I think that goes a long way to the unique sound and album they created.

"Raising Hell" is the third studio album from by American hip-hop group Run-DMC. The album was produced by Russell Simmons and Rick Rubin and was extremely successful being the first platinum and multi-platinum hip-hop album and the first album to top the Billboard top R&B/Hip-Hop album charts. It is credited as heralding in the golden age of hip-hop and the hip-hop album era and was inducted in 2018 to the National Recording Registry by the Library of Congress for its artistic significance. Quite the legacy and achievements. "Peter Piper" begins the album as Run-DMC uses nursery rhyme names such as the Big Bad Wolf, Hansel and Rip Van Winkle to state their excellent rapping ability. The beats. The bells. "My Sharona" and "Mickey" are sampled in the catchy " It's Tricky." Irresistible chorus and beats. The scratching. Hey, it's hard to rap. Their first single "My Adidas" layers more beats. I think the band got their million dollars. The song was also credited with influencing company endorsement deals with hip-hop musicians. And speaking of influencing, "Walk This Way" was one of the first successful rock-rap collaborations, brought hip-hop to the mainstream, was the first hip-hop song to reach the Top 100 and re-kick-started the career of Aerosmith. And probably more things I'm sure. Of course, I remember the MTV video and immediately liked this song. I think Joe Perry's guitar and solo sounds better than in the original. "Hit It Run" added other noises to the beats and scratching. "It's McDaniels not McDonalds." "You Be Illin'" is just hilarious. "Ordering Big Mac and fries at Kentucky Fried Chicken." "Yelling touchdown at a basketball game" Sampling Kurt's Blow's "AJ Scratch" with the beats. The album ends with the more serious "Proud to be Black." The rapping intensity is amped up for sure. Mentioning Harriet Tubman, Jesse Owen's, Malcolm X and Dr. King. This song maybe foreshadows the more serious nature of hip-hop as Chuck D has cited this album as being extremely influential. This album was extremely fun to listen to today. It has its place in history and still sounds great.

"Welcome to the Afterfuture" is the second full-length album by American hip-hop musician Mike Ladd. The album is recognized as one leading cutting edge hip-hop into avant garde and non-western traditions. I also put some of this music just plain in the experimental category as well. Lyrically this album can be somewhat all over the place but there are recurring themes of police states, a new world order and anti-imperialism. "5000 Miles West of the Future" begins things with heavy keyboards transitioning into more ambient music. Ladd talks and the mood is that of dread. It has a future sound. Jazz horns end things. Swirling strings and Hindu-type chants give "Airwave Hysteria" a totally different vibe. There's more funk with the keyboards. Dense rhyme content going into a history of imperialistic violence. The third song "Planet 10" slows things down a bit is no less weird. Slightly more soulful. A deeper male voice. A synthed-out female voice. Ambience with space sounds. "Where are we going?" "Bladerunners" features Company Flow and has string samples and a slow, funky groove. More traditional hip-hop rap. But, the lyrics keep the weirdness going describing a bad ass sexed-up dude and then goes into a political rant about police states. "Wipe Out on the Wave of Armageddon" caught my attention with the Shaft-like drum beat. Ambient synths smooth things out. The album ends with "Feb. 4 '99," spoken word lyrics talking about the future of money, woman and computers. A drone background. A clock-ticking beat with high-pitched keys. One of the best songs on the album. This album was a decent listen. It starts and ends strong. Things were always kept interresting.

"With the Beatles" is the second studio album from The Beatles and was released eight months after their debut "Please Please Me." The Beatles were on a plan to record two studio albums and four singles per year. "With the Beatles" did not have a single and included eight originals and six covers. In the US, the first two UK album releases were split differently into two US album releases, "Meet the Beatles" and "The Beatles Second Album." The iconic album cover was taken by Robert Freedman at the Palace Court Hotel as they tried to emulate their early 60's photos in Hamburg. Obviously, it influenced several if not more future album covers. An original, "It Won't Be Long," begins things with John Lennon on vocals. Authoritative "Yeah, Yeah, Yeah" backing vocals. I always liked The electric guitar on this song. "All My Loving" may be Paul McCartney's best early Beatles' song. Clear, confident vocals by McCartney. And we have George Harrison's first solo composition in "Don't Bother Me." This is a decent song. The classic Chuck Berry cover "Roll Over Beethoven" starts Side Two. George Harrison on vocals. Another strong McCartney song is "Hold Me Tight." A simple pop song. Nice harmonies and backing vocals. Well, it's The Beatles. Probably the cover highlight is the closer "Money (That's What I Want.)" A screaming John Lennon in early Beatles' album is a good thing. He doesn't quite match the incendiary "Twist and Shout" performance but do you think of anyone besides The Beatles singing it? What can you say about a classic early Beatles' album? I did listen to their debut "Please Please Me" right after and, honestly, I give a slight edge to the debut. However, this album is essential, historic and a joy to listen to.

This picked me up on this Friday. "The B-52's" is the debut album from the Athens, GA new wave band The B-52's. The best description I saw of their music is a fusion of pop, surf, avant-garde, amateurish funk and white funk. Yep. And a description of the band as bad hairdos, sci-fi nightmares, pastels and dance crazes. All perfectly fine for me. Almost every review I read referred to their lyrics as kitschy. I see the retro in the band's appearance but is bikini whale really kitschy? OK, it is. Anyway, lots of fun here. The album was produced by Chris Blackwell and recorded in the Bahamas. Morse-code keyboards and a Peter Gunn guitar begin "Planet Claire." Two minutes in and vocalist Fred Schneider joins. Right away we're into the weird sci-fi lyrics and story. She came from Planet Claire where no one has a head and the trees are red. Another keyboard start in their third single "Dance this Mess Around." Cindy Wilson on lead vocals, singing and screaming. Guitarist Ricky Wilson bringing the chorus. And we come to "Rock Lobster" where Ricky Wilson told the other band members "I just wrote the stupidest guitar line you've ever heard." Yeah, and one of the best. That surf guitar. That sci-fi keyboard. The cowbell. The best use of sea animal sounds ever. Little did we know what finding a rock lobster on a beach would lead to. I had to re-watch their Saturday Night Live performance. It's still just as great as when I saw it live. "Lava" starts the second side and is more straight-forward punk/rock. Minimal keys. Cindy Wilson stressing she just needs to have that hot lava. Yeah! Cindy Wilson also kills it on "Hero Worship. Melodic guitar lines at the start. This song has a Stonesy "Some Girls" groove to it. Sleater-Kinney was listening. The closest thing this album has to a guitar solo at the end. My favorite deeper cut on the album is "6060-842" and its vocal chorus from Kate Person, Schneider and Cindy Wilson. I still have it in my head. Rick Wilson's guitar sounding very Gang of Four-esque. "Your number's been disconnected." I think the first two B-52 albums are fabulous. This debut album still rocks. I first got it on cassette; I know I don't have that but I do have the 45 of "Rock Lobster" which I'll put on later.

"Songs from a Room" is the second studio album from Canadian musician Leonard Cohen. The album began with David Crosby as producer which didn't work and was eventually produced by Bob Johnston and recorded in Nashville. As a response to critics and friends for his arrangements and production on his first album, Cohen stripped this album down. Boy, did he ever. The music is very stripped down...no drums used. The music and the lyrics are very stark. Where his other early albums have songs about romantic relationships, here, we have a few about relationships but also about war, God, his father and drugs. Maybe, it was the 1969 timeframe??? Or just Lenny? The album begins with a song he frequently began his concerts with, "Bird on a Wire." Acoustic guitar, strings. More of a country song. He said the song was written after a woman helped him though a depressive state. He swears to redeem everything that's gone wrong. That might be the most upbeat song on the album as he goes dark on the second song "Story of Isaac." An anti-war song but ends with a peace branch. Sacrificing for others. "Seems so Long Ago, Nancy" was inspired by a woman. Everyone knew her but she ends up killing herself in the end. I'm not sure I want to know any more about Nancy. "The Old Revolution" continues with the acoustic guitar lead but also has a funky background noise which I couldn't quite place the instrument. The stanzas switch between describing war and living life. Both don't end well as he repeats going into a furnace. The album ends with "Tonight Will Be Fine." A thumping bass and whistles. Dreaming about being with a woman and that's fine for tonight. Well, Leonard Cohen is tied at second with The Beatles and David Bowie with albums the challenge has given me at four. The Smiths/Morrissey lead at five. I have to admit I struggled with this Cohen the most. Not that any Cohen album is joyous, laughter and giggles but this one goes to a dark place and there more than the others. That in itself is an accomplishment. It is, however, always worth listening to Cohen for his brilliant, poetic lyrics and stories.

"Let It Be" is the third album by Minneapolis rock band The Replacements and happens to be one of my favorite albums of the 80's. Heck, of any decade. Lead singer/guitarist Paul Westerberg had grown tired of playing noisy and "fake" hardcore rock and wanted to write songs a little more sincere. A one-line description is a post-punk album with coming of age themes. I think that's accurate but The Replacements didn't completely throw away their punk and brattiness and as Pitchfork points out, that's what takes this album to the next level with sincere, more serious songs mixed with loud, brash, harder, less serious songs. The yin and the yang. A whole of album of "Unsatisfied"'s would have been very overwrought. The album was named for the next song they heard on the radio (and to poke fun at their manager, a big Beatles fan). Westerberg said it came close to being named "Let It Bleed." I guess "Gimme Shelter" was the next song they heard. There was a huge critical response then and since being described as "The peak of American indie rock" and "A cornerstone of alternative music." Jangly guitars open "I Will Dare." Catchy guitar and vocal choruses. The Replacements at their pop-rock best. About the band willing to do anything. Guitarist Bob Stinson couldn't come up with a solo so R.E.M.'s Peter Buck did and does the solo. Things speed up on "Favorite Thing" but are still melodic. The rhythm guitar carries this one. I think a love song. Alright we go snotty-'Mats' punk and attitude on the next two songs: "We're Coming Out" is another song about the band taking chances. "Tommy Gets His Tonsils Out" is, well, about bassist Tommy Stinson getting his tonsils out. True story during one of their tours. Let's go back to the sensitive side of things in "Androgynous." Only piano. Appearance and sexual identity shouldn't matter. An album high point. Why not end with a KISS cover in "Black Diamond." Killer Bob Stinson solo. And then we begin one of the best album sides in rock history. Paul Westerberg had to record "Unsatisfied" away from everyone and facing the wall to get and because of his emotions. An incredible raspy, vocal performance as the music plays with him. Great layered guitars. A song about discontent (with the music industry). I think all of the emo genre is based on this song...for better or worse. "Seen Your Video" is mostly instrumental with great guitar interplay. Obviously, a very anti-music song. And The Replacements backed it up by making very lame videos themselves. Touché. We need one yang song on Side Two and that one is the rockin' "Gary's Got a Boner." "He's got one but not for long." "Sixteen Blue" is about the awkwardness of being sixteen. Hey, I was sixteen when this album came out. Was I awkward? I don't remember. Probably. Hell, what do you mean was? Great, great guitar melody and an absolutely searing Stinson guitar solo fading the song out. Westerberg keeps upping the emotional level and just tears threw it on the closer "Answering Machine." Westerberg on the 12-string as he asks and screams "How can I say I love you to an answering machine." Drums kick in. An operator's voice comes in asking for change. We end in chaos. Wow! It's a shame this is the only Replacements' album in the challenge. Their next two albums "Tim" and "Please to Meet Me" are also brilliant. At that time and after this album, there was a major label bidding war between The Replacements and R.E.M. Well, we know how that ended but emphasizes how highly this album was thought of. It still sounds great and deserves every bit of its many accolades.

"The Downward Spiral" is the second full length studio album by American industrial band Nine Inch Nails. It is a concept album following the self-destruction of a man from the beginning of his disliking of humankind and society to his suicidal breaking point. It was also recorded in the LA mansion of Sharon Tate where she infamously was murdered by Charles Manson; a house NIN leader Trent Reznor had rented. You had me at either point. The album wad conceived by Reznor during NIN's 1991 Lollapalooza tour where he was feeling alienated and disinterested. The album has elements of industrial, rock, techno, metal and ambient music. Reznor avoided straight-forward guitars and synths and designed and recorded the sound with his computer using loops, distortion, and samples. He also used samplers, digital drums and various digital synths. Yeah, this is a very unique and textured album. Jane's Addiction's Stephen Perkins and guitarist Adrian Belew were also involved. Reznor drew inspiration from David Bowie's "Low" and Pink Floyd's "The Wall." Oh boy, where are we going? Well, we get to meet our antagonist/protagonist in "Mr Self-Destruct." Drum machine/mechanical pounding. Noises. Reznor whispering and screaming. Fast-slow-fast. He's powerful, violent, and has urges of sex and addiction. Synths soften things up on "Piggy." The song builds. The song is based on a NIN guitarist leaving the band and his nickname but in this story it's about a girl leaving our guy. The dance gets going on "Heresy." This sounds like a mix between Prince and Ministry. Actually this song rocks. "God is dead and no one cares." God is dead to him. A pounding fast, repetitive drum beat begins "The March of Pigs." Our protagonist hates the conformity of society. Also, supposedly about Reznor's viewing people dance at his concerts. A subtle piano ending. And then we come to "Closer." A weird, eerie and somewhat funky song. The video is something everyone remembers and, of course, the line "I want......like an animal and feel you from the inside." About sex? Reznor says no. It's about self hatred and obsession. Hmmm? Samples Iggy Pop's "Nightclubbing." "Ruiner" continues the dance beat. Another cool groove. The Ruiner takes control. Mechanical drums dominate "The Becoming" and our man is transforming into something non-human. Albeit, there's hope in "A Warm Place." His human side trying to shine through. An instrumental and ambient music. The only happy song on the album. It's short lived as he's losing his mind in "The Eraser." Evil sounding synths and Reznor screaming. His life appears to come to an end in "The Downward Spiral." Eerie insect and mechanical pump noises. Reznor is barely audible. The video game makers of Halo, Biosphere and Resident Evil were listening. The album concludes with "Hurt." I'm a big fan of both the NIN and Johnny Cash versions. The NIN version has swirling background noises, hypnotic guitar and Reznor taking his emotions all over the place. Cash goes to a place and stays there. About heroin addiction? Self hate? Is our protagonist looking at himself as s ghost and regretting what he did? Yeah, probably all of that. Whew, what a ride. I got this album when it came out and liked it for certain songs. Listening to it now knowing the story takes it a whole other level. Maybe a level you don't want to go to. I liked the way some of the songs can be interpreted within the context of the story or separately on their own: each maybe having different meanings. However, influential, it definitely is. The industrial sound you hear in other artists, video games, movies and probably more. You can absolutely see why Reznor became very successful in making movie soundtracks and also why he went himself into a drug downward spiral.

"Fear and Whiskey" is the fourth studio album from the English rock band The Mekons. Musically, the album marked a dramatic shift from a previous punk style to incorporating more country elements include a fiddle, steel guitar and harmonica. It is credited as one of the early alternative country albums. I sort of agree with that but in this music, you hear rock, pop, a lot of folk, punk and country. The album lyrics and theme loosely center around a community struggling to retain its joy and humanity through a war. The album had modest commercial success due to production issues but had much critical praise. "Chilvary" opens things with a happy melody and beat. The fiddle and guitar carrying the melody which we see throughout this album. Three stanzas are repeated. He gets drunk and sees somebody he knows in tears. On the third song, "Hard to Be Human Again," a blues harmonica comes in and then the song goes more punk and rock with the beat. This sounds a lot like The Clash. I don't know exactly the meaning but a bathhouse is involved. Hey, we got a waltz in "Darkness and Doubt." We'll, at least a waltz at the beginning. A standard beat begins, the violin leads and we're country. I think this about rebellion. They do mention following John Wayne across the field. "Country" is actually a rock-pop song. I'm hearing Slade. A good change of pace from the previous more folk songs. The beat picks up on "The Last Dance." A violin lead with a standard rock back beat rhythm. Cool song. Simply about love and dancing. The album ends with a Hank Williams' cover "Lost Highway." They take this in a traditional folk direction. Again, a violin lead and the only guitar solo I get to hear. This album was fun. It covered a lot styles. You hear various other artists but they are definitely unique. The Mekons are a very prolific band with 23 full length albums, 10 EP's and various singles and compilations. I think I could replace finishing the challenge with finishing The Mekons and it would be in about the same time. However, I will check out more Mekons and so should you.

"!!!Here Are the Sonics!!!" Is the debut album from Tacoma, WA garage rock band The Sonics. The album has four original and six cover songs. All the songs are fast-paced, early punk and have a guitar solo. Garage indeed. Oh, and lots of screaming from lead singer Gerry Roslie. Side A begins with their song "The Witch." A repetitive drum beat. A buzzing guitar. Sax in the background. The song goes from fast to faster. And we're off. About a woman. The sax and piano are prominent in "Boss Hoss." The Jerry Lee Lewis-ish piano playing puts this firmly in the garage/punk category. With this car he can't lose. The best cover on the first side and the album is their version of Richard Berry's "Have Love Will Travel." Put this song on you will immediately recognize that guitar intro and scream from at least one commercial. The Sonics pretty much made this song their own. "Pyscho" opens the second side. The sax. Another very 60's sounding song. I thought I had Little Steven's "Underground Grage" radio show on. And the best song title goes to "Strychnine." The longest guitar solo. The piano going crazy. "I like the taste of Strychnine." Can't get much more punk than that. I know I overuse the fun description but this album was fun. I also appreciate two to three minute-long songs and albums coming in under 30 minutes during this challenge. This album has to be very influential in the scope of things for bands like The Stooges and The Cramps and the whole punk movement. Three chords and lots of screaming will do it every time for me.

"The ArchAndroid" is the debut album by American singer and songwriter Janelle Monáe. This is a concept album with two parts telling the tale of a messianic android freeing citizens of oppression and stresses themes of love, identity and self realization. It was inspired by the 1927 film "Metropolis." The scope of the music is very impressive incorporating elements of funk, hip-hop, folk, electro-pop, glam rock, big band, jazz, rock and classical music. She carries this off very smoothly too. The first part, Suite II (Suite I is on her first EP) is about self-identity and self-realization. "Dance or Die" adds spoken word of poet Saul Williams. It starts out with a hip-hop beat and an ambient sound which goes to more a Latin pop dance song. The minority needs to speak up (dance); the messiah is coming. "Faster" picks up the pace with a funky melody. "Locked Inside" sounds like Michael Jackson's "Rock With You." More pop with strings. People locked inside society. Big hooks and great production highlight the second single "Cold War." Monáe's voice is front and center. Big Boi joins in on the big single "Tightrope." This is a great song. More funk. Yeah, this is a lot like "Hey Ya." Not a bad thing. Suite III is mostly love songs. "Make the Bus" has a pyschedelic type of groove. The band Of Montreal contributes. Big backing vocals. I have no idea what it's about but it sounds good. "Wondaland" has a easy groove and Janelle sings in a high pitch/tone. More synth-pop. Another guest appearance with Deep Cotton on "57821." Gospel backing vocals. Acoustic guitar. 60's folk sounding. Hey, spacey folk. The android finds out she is an android. This is quite a spread of music. It's very likable and to me she nails what's she's trying to do. I don't know if the concept was the easiest to follow. Definitely not hardest. But, the music and Janelle's singing is worth checking this out for.

"In Rainbows" is the seventh studio album by English rock band Radiohead. The album was eventually produced by Nigel Godrich after Spike Spent didn't work. The band used conventional rock instruments plus electronic instruments, strings, piano and the ondes Martenot. The lyrics were less political than previous albums. As lead singer Thom Yorke described them: " an anonymous fear thing, like sitting in traffic thinking you should be doing something else." I've been there. The band limited the album to under 45 minutes (actually 42). That's a good thing. The album was famous for being self-released, a pay-what-you-want download. I remember that. It also won a Grammy for Best Alternative Music Album. "15 Step" starts the album with a hanclap rhythm inspired by Peaches "Fuck the Pain." Guitar coming in. Organ keeping the background music. Frustration about not being able to break pattern. Thom Yorke said "Bodysnatchers" was based on Wolfmother, Neu! And dodgy hippie rock. A underlying grinding guitar. Layered guitars. Eerie keys. More hand clapping. Cool song. The second single "Nude" was actually their first single since "Creep" to make the Billboard Top 40. Just a drum beat, strings and a slow guitar progression. Majestic ending. Can't change the world around you. "All I Need" ends Side One and is also one of my favorite Radiohead songs. Guitar, glockenspiel. About unrequited love. The piano picks up the pace and the songs ends in chaos. Johnny Greenwood had the string section play every note of on the scale and blanket the frequencies trying to create white noise. The quality does not step down on side two. "Rekoner" has clanging percussion, meandering guitar, piano, strings and Yorke in falsetto. Life doesn't last forever. "House of Cards" is softer with a plodding guitar, strings and Yorke now wailing. People leaving unstable marriages to be with each other. The first single was "Jigsaw Falling into Place." A quicker beat. Guitar led. I think about the impossibility of finding someone of significance when you go out drinking. Yorke did say it was based on the chaos of drinking. "In Rainbows" has a few of my favorite Radiohead songs. I also feel this album really has no filler; every song fits and is worth a listen. I think their album goal of 45 minute worked. It's difficult for me to rank Radiohead but this would be in upper half.

"The New Tango" is a collboration between Argentinian Tango leader, composer, arranger and bandoneón player Astor Piazzolla and American jazz vibraphonist, composer and educator Gary Burton. The album is a concert recorded at the 1986 Montreux Festival. That must have been quite a festival. The music are pieces written by Piazzolla over his 40-year career and the concert billed as a suite for Vibraphone and New Tango Quintet. The album are seven music pieces being led by the vibraphone, bandoneón and violin (Fernando Suarez Paz). "Milango is Coming" begins the album and is more classical music with the violin. Eventually the vibraphone and bandoneón come in and the music sounds more like a tango. That happens quite frequency during these songs. "Vibraphonissimo" picks up the pace. It was specially written for Gary Burton and the vibraphone is front and center. The violin gives "Nuevo Tango" a very dramatic feel. All instruments come in and we clearly have a Tango melody. Big sounds abound in "Operation Tango." A violin break and solo. The most traditional tango-sounding song on the album. There is no doubt to the excellence of these players and music. The music changed pace and frequently the lead instruments. Never a dull moment. The audience was extremely appreciative (or least the recording of them) with a thunderous applause after each song. I enjoyed this album quite a bit.

"Blonde on Blonde" is the seventh studio album by American singer-songwriter Bob Dylan. It was the first double album in rock history and also completed his trilogy of rock albums after "Bring It All Back Home" and "Highway 61 Revisted." Numerous backup musicians contributed including members of The Hawks (soon to become The Band). The writing and recording started in New York City which was unsuccessful and eventually moved to complete in Nashville. "Blonde on Blonde" is widely considered one of the best albums of all time. The wacky and wonderful "Rainy Day Women #12 & 35" kicks things off. A demented marching band with the drums, trumpet, harmonica and people yelling in the background. A brilliant dual pun in "Everyone must get stoned," of getting high and actually persecuted. Dylan and the musicians had trouble getting "Visions of Johanna" on tape. 14 takes. They nailed it eventually. It's about two women, carnal Louise and unattainable Johanna, and about attaining perfection. The piano just builds in the first single "One of Us Most Know (Sooner or Later)." Failing relationship and failing to admit abuse. And then we come to the second side. Woah. Just woah. An outstanding musical chorus drives "I Want You." Very happy sounding with the guitar, organ and piano. The lyrical tension between the repeated "I Want You" and the host of complex characters Dylan rambles on about. One of my favorite Dylan songs is "Stuck Inside of Mobile with the Memphis Blues Again." I love the way the musicians are following the tone and pace of the lyrics. Your debutante (girl) knows what you need; you know what you want. The second Chicago Blues style song in "Leopard Skin Pill Box Hat." Two searing Robbie Robertson guitar solos. Great acoustic guitar picking in "Just Like A Woman." Lilting melody. Dylan was criticized for sexism and misogyny. Is it about Edie Segwick? Joan Baez? A highlight of side three is "Temporary Like Achilles." Another Blues number. Double-barrel piano. Harmonica. Organ. He's spurned by his lover for another guy who is ending up just like him. Dylan goes uptempo Memphis Blues in "Absolutely Sweet Marie." More pop. A great melody. The entirety of side four is the epic 11-minute poem "Sad Eyes of the Lowlands." Apparrently a wedding song for his bride Sara Lownds. Great organ by Al Kooper and drumming by Kenny Buttrey. What can you say about about this classic. One of the best album sides ever in side two. The mix of several different types of blues styles, rock, pop and a waltz. His lyrics. One of the few albums wear you actually can hear the musicians trying to match the singing and lyrics and achieving it. Fantastic.

"Kenya" is an African-Cuban jazz album by Cuban jazz musician Machito (Francisco Raúl Gutiérrez Grillo). The musicians and instruments include three percussionists, a horn section, bongos and congas. Yes, the rhythm section was prominent. The album was recorded at Metropolitan Studios in New York City. "Wild Jungle" comes out strong. A fast rumba. A very fast beat. It sounds like a marching band with the horns and the multiple percussion. The second song "Congo Mulence" is more traditional jazz. "Frenzy" lives up to its name with crazy percussion. "Blues a La Machito" is described as Cuban blues. Hmmm. This slows down things a bit. The seductive horns makes this song sound like it belongs in a private eye movie (i.e. "The Pink Panther"). The album ends with "Turutao." A rumba beat. A complex horn arrangement and horn solos. Interesting. This album reminded me a lot of Hollywood movie music. I don't have enough of a Latin jazz background/listening experience to compare, to say a Tito Puente. The highlight for me was the multiple percussions and the beats they created making this worth a listen.

"Parklife" is the third studio album by English band Blur. It is one of the early albums in the emerging Britpop scene. Lead singer Damon Albarn said this was a loosely-linked concept album "travels of the mystical lager-eater, seeing what's going on with the world and comment on it." As weird as that sounds, I'll buy it. The song topics do jump around and the music genres kind of vary too. This album was a huge success in the UK, had four hit singles and was a big return commercially from their previous album "Modern Life Is Rubbish." The album gets going with their hit single "Girls & Boys." Synth pop with the synthesizer, a funky groove and a catchy chorus. What's this really about? The club scene? Free love? Sexual freedom? All the above? The fifth and last single "Tracy Jacks" is more pop-rock guitar driven. I like the nautical sounds at the beginning but I'm still not sure if the repetitive saying if Tracy Jacks is catchy or annoying. "End of the Century" is very much pop. The backing vocals remind me of The Beach Boys for some reason. The boredness of everyday life maybe. Phil Daniels gives some spoken word in "Park Life." Guitar takes the lead. Catchy chorus. Good song. Guitarist Graham Coxon said this was a sarcastic view on various working class people they saw when they walked to the studio. The second half of the album may not have quite the hit singles but probably my favorite songs. Their second single "To the End" almost has a baroque pop feel to it. Albarn on the synths and vibraphone. Sterolab's Lætitia Sadier on backing vocals. One of their best songs. The relationship is over, nothing in common. "Trouble in Message Centre" rocks it out a little more with the guitar and is my favorite song on the album. The catchy la, la, la, la chorus. Not clear but I'm guessing about doing drugs. Another second half highlight is "This is a Low." Soft, acoustic guitar, electronic guitar solo, majestic/epic sounding. Very British in describing a shipping forecast and a low-pressure weather system hitting. This album and Blur in general seem to get a variety of reactions. I always liked this album. No denying the number of very well-crafted catchy songs. My favorite Blur album is probably their last album "13" but this one is up near the top.

"Rip It Up" is the second album from Scottish post-punk/pop band Orange Juice. This album is more pop than their debut and had a hit single in the self-titled song. There are a few songs that still incorporate elements of new wave and post-punk. The band consisted of Edwyn Collins (vocals, guitar), Malcom Ross (guitar, keys, vocals), David McClymont (bass) and Zeke Manyika (drums, vocals). Hey, I do remember that girl song from Edwyn Collins in the 90's. The album begins with their only UK top ten hit in "Rip It Up." A jangly guitar and with the bass sounds a lot like Chic. How can you not sort of like a song that references The Buzzcock's "Boredom" He's struggling with why he would want to get back with his girlfriend. The second song "A Million Pleading Faces" is more post-punk and with a dance groove. The initial guitar sounds similar to Gang of Four. With the backing vocals and slide guitar, I now hear The Talking Heads. Two very good bands. "Turn Away" has an interesting guitar and with the keyboards is early 80's all the way....new wave. He doesn't want to see the girl hurt. Carribbean/tropical guitar opens "I Can't Help Myself." It's a well-craft pop song. Keyboard, guitar and sax bridges/solos. And a Four Tops' reference. He can't help himself from a girl. This guy does not appear to have had any stable relationships. Edwyn Collins is crooning on the album closer "Tenterhook." A slide guitar and violin. Alright, I hear a wee bit country influence. The song ends with a pretty cool guitar. There was really nothing offensive on this album and nothing really ground breaking. The first two songs are very good. I know a number of people who prefer their debut and third album. I might check those out.

I Want to See the Bright Lights" is the second album by English singer/songwriter and guitarist Richard Thompson and the first with his then wife Linda Thompson. The album was not commercially successful and was not released outside the UK until 1983. Apparently, a vinyl shortage in 1974 contributed. It is now considered a classic of English folk rock. Yeah, lots to like here. Lyrically dark songs. Linda's haunting vocals and, of course, Richard's guitar. We started out rollicking with the pub-style "When I Get to the Border." Uplifting and great, great guitar. An accordion. A mandolin. A tin Whistle. Linda Thompson's backing vocals. And A Crumhorn. Yes! Oh, about a guy drinking himself to death. Linda takes the lead on "Withered and Died." The slide guitar takes this in a country direction. An abandoned woman at the end of her rope. Richard let's loose with he electric guitar on the rockin' "I Want to See the Bright Lights Tonight." Cascading horns. Work's over; it's time to party. "The Little Beggar Girl" sounds like a traditional folk song. Linda on lead vocals. Richard on backing. Mandolin. Acoustic guitar. I think disdain for the rich. You can barely hear Richard on the somber "The End of the Rainbow." Slow. A father telling a newborn of the disappointments that lay ahead. The album ends with "The Great Valerio." Stark with basically only Richard's guitar and Linda's vocals telling the story of toghtrope walker The Great Valerio and how the audience is not willing take a similar chance. This album is worth listening to just for Richard's guitar. The lyrics on this album are dark but brilliant. The music varies. A definite must listen. It's been awhile since I listened to "Shoot Out The Lights." I'll need to put that on soon.

"Casanova" is the fourth studio album by the Irish chamber pop band The Divine Comedy and was their commercial breakthrough. The writing by front man Neil Hannon is described as a more straight-forward pop tone from previous albums, also more Britpop. I'd still say it's more chamber or Baroque pop with influences of Scott Walker. Lyrically the theme is sex. No doubt about that. The band was given their longest studio recording time due to the recent success of Edwyn Collin's "A Girl Like You." Ah, the randomizer is coming full circle this week. Their UK hit "Something for the Weekend" opens things up with girls laughing. A song that rolls along in a happy way. A busy song. Strange since the guy gets blindsided and robbed when a good-looking girl tells him to go the woodshed. Supposedly inspired by Kate Beckinsale. The second song and single "Becoming More Like Alfie" is more lush with strings. I had an initial bossa nova feel. A conflict between refinement and animal lust. We might be in cabaret territory with "Charge." Kind of vaudeville with the piano. He sings in a deep voice and croons like Prince. Sex without love. Central theme intact. "Songs of Love" was the theme to UK TV show "Father Ted." This may the simplest and best song on the album. Piano and acoustic guitar. OK, the third and final single "The Frog Princess" reminds me of Scott Walker with Hannon's voice and the orchestration. Flirting with a French girl who is not very good looking, eventually falls for her but she doesn't for him. The only non-sex theme song "The Dog and the Horses" ends the album. Hannon almost whispering. Majestic and dramatic with horns. It's about death using spring and winter analogies. I have to admit I thought this was OK on the first listen but really opened to it with repeated listens. It does a very good job of incorporating multplie instruments into various nice arrangements. It's a musical style not heard in too much in recent times being more popular in the 60's and kind of surprising this album had the success it did in the 90's. Well, maybe not: "Automatic For the People" had Baroque pop songs. I might need to research this.

"Homework" is the debut album from the French electronic music duo Daft Punk (Thomas Bangalter and Guy-Manuel de Homem-Christo). It is credited with giving French house music world wide attention and it became a huge commercial success in the ensuing years. The duo began by presenting a demo to DJ Stuart MacMillan at a EuroDisney rave in 1993. Their singles increased in popularity. The songs on this album were originally considered to be released as separate singles until they had more than enough material for an album. In 1996, they were signed to Virgin Records after a bidding war. One article described this as " a bridge between the club styles to burgeoning eclecticism of big beat." OK. "Daftendirekt" kicks things off and is a live performance from Belgium. Distorted vocals. Dance beat. "Revolution 909" was the fifth single and adds multiple percussion sounds to the dance beat. There's more of a groove with the keyboards. "Da Funk" is where you really hear the Chic influence. Described as funk and acid and as Chic meets eletronica. That's fair. Supposedly about having dumb fun???? I like the scratching at the end. Right in the middle of the album is their hit "Around the World." A keyboard driven melody. More Chic-like grooves. The repetitive robotic vocals of "around the world." A special mention to "Rock'n Roll" for its irritating sounds. As some of you know, I appreciate some songs that irritate. We get quick laser and zipper sounds in "Burnin.'" One of their earlier singles is "Indo Silver Club." More house with the beat. The album ends with "Funk Ad" which is a reverse clip of "Da Funk." Pretty cool. It's was hard to listen to this album given how big and widely played Daft Punk is. As an album, it comes across as it is, a compilation of singles. I like their big hits to a certain extent and I appreciated their irritating songs. A long album at 73 minutes. Obviously, their influence would continue to grow for the next twenty years.

"Private Dancer" is the fifth solo studio album by Tina Turner and her first released through Capitol Records. The album was a world-wide success and propelled her to a viable solo star. Yeah, her music was all over the place in the mid 80's. It was recorded at several studios in England and included four production teams including one with members from Heaven 17. The music itself was a departure from her R&B style with her then husband to more uptempo pop and rock, ballads and some smooth jazz and R&B. This is very 80's pop sounding. In 2020, the album was selected by the Library of Congress into the National Recording Registry for its significance. "I Might Have Been Queen" starts things off with smooth production and slick pop. Tina's raspy vocals add a nice juxtaposition giving it a unique sound. The lyrics were meant to be autobiographical. "What's Love Got to Do With It" writers' Terry Britten and Graham Lyle offered the song to a lot of other artists including Cliff Richard and Donna Summer. I can't think of anyone but Tina Tuner singing this. The slow reggae-esque beat. If I had to name one 80's pop song, this would be the first one that pops (no pun intended) into my head. Tina does a great job on "Better Be Good to Me" going from whispering to loud and screaming and back again. Picking one song out of the four cover songs, I'd go with her cover of Al Green's "Let's Stay Together." An interesting take. Smooth jazz & pop. Heaven 17's Martyn Ware produced. Her other covers were OK ( "I Cant Stand the Rain"-Ann Peebles, "Help"-The Beatles and "1984"-David Bowie). "Private Dancer" is probably my favorite song on the album. Technically, its also a cover of the Dire Straits' song but Tina steals it. The jazz band The Crusaders is backing. There's a Jeff Beck guitar solo. Arguably, Tina's best vocal performance ( on this album)...deep, souful and emotional. This album has a few songs I really do like a lot. It absolutely sounds of the mid-1980's pop scene. Well, it defined it. Slick production and sound. Tina's vocals are great. If you want a trip back to the 1980's pop scene, this is the one to play.

"Trans-Europe Express" is the sixth studio album by German band Kraftwerk. This album was a move away from their Krautrock style of improvised instrumentals to more melodic electronic music. The melodies certainly carry the day in many of these songs. Sequenced rhythms, minimalism and manipulated vocals are also incorporated. Yep, we've covered most of it. The themes include the European rail service, glorification of Europe and disparities between reality and appearance. There was and is very high critical praise for this album: "Timeless, retro and contemporary" and "The modern electronic birth certificate." A high pitch sequencer/keyboard melody begins the album and song "Europe Endless." A happy song. A man's voice and a manipulated man's voice. An ode to Europe...parks, hotels and palaces. "The Hall of Mirrors" has an eerie echoing beat and melody. This song is frightening. Deadpan vocals with a heavy German accent. I hear many a video game soundtrack and noises. It's autobiographical with how stars look at themselves in the mirrors...loathing, self-obsessive. Eins, zwei, drei with a Ramones ode and were off with another creepy song in "Showroom Dummies." A little more dance with the beat. Paranoid lyrics as they compare themselves to mannequins from the point of view of a mannequin. The famous dramatic melody keys begin "Trans-Eurpe Express." The hypnotic repetitive snare-drum beat noise. The robotic repeating of the song title. Hey, a shout out to David Bowie and Iggy Pop at the end. Bowie was a fan. The song is about the modern European railway system. The next two songs, ""Metal on Metal" and ""Abzug" are basically extended codes for "Trans-Europe Express." Keep a good thing going. "Franz Schubert" is an instrumental with repetitive keys. More grandiose with an orchestral background. The album ends with "Endless, Endless" and a manipulated voice repeating endless. I guess you might fall into two categories with this album: either there is not a wasted moment or rather this entire album is a wasted moment. I'm a huge fan. That "Trans-Europe Express" melody will be in my head for the rest of the day. There is no doubt as to the influence of this album in electronic music, other musicians, video games and probably a lot more. This sounded as good today as when I first heard it years ago.

"Brilliant Corners" is a studio album by American jazz pianist and composer Thelonious Monk and his third for Riverside Records, the first with his own compositions. It was recorded in three sessions and two different quintets. The music is categorized as hard bop which is a subgenre of jazz and an extension of bebop with influences of R&B, gospel and blues. Critics described this as Monk's peak along with "Misrerioso" and "the alpha and omega of post-WWII American jazz." In 2003, it was added to National Recording Registry and also to the Grammy Hall of Fame in 1999. The self-titled "Brilliant Corners" begins the album. It famously took 26 takes to complete due to its unconventional song structure and complex rhythm. Yes, this goes slow then speeds up and back again. Piano starts it off. Ernie Henry on alto sax and Sonny Rollins in tenor sax join in. It is brilliant. "Ba-Lue Bolivar Ba-Lues-Are" refers to the Bolivar Hotel where Monk met British jazz patron Baroness Pannonica de Koenigswarter. Described as riff-based blues. Max Roach with killer drums. We get a bass and a drum solo near the end. Monk plays a distinctive celeste piano in "Pannonica" sounding high-pitched and like a xylophone. The piano is appropriately named as it does sound like a twinkling star. Another dedicated to Baroness Pannonica. "I Surrender" was a song written by Harris Barris and performed by Bing Crosby in 1931. This version is all Monk on piano. "Bemsha Swing" closes the album and is dedicated to Monk's parents who were born in Barbados. Clark Terry on trumpet gives this song a nice change of pace. This is an outstanding album with some musicians being one of the best if not the best musicians in jazz and music history. It is a joy to listen to. Even with its complexities it's smooth. An album every jazz and music fan needs to listen to.

"Urban Hymns" is the third studio album by English alternative rock band The Verve. The band split up after their second album and then reformed. Original guitarist Nick McCabe was not in the band when they started recording "Urban Hymns" but eventually rejoined as the band was struggling with the writing and recording. With three guitarists, there is lot guitar layering. This falls in the Britpop stylewise. Some songs I would just classify as rock. It was their best-selling album and won the 1998 Best British album at the Brit Awards. For the most part, the album received very positive reviews. There were some mixed ones as well. The Andrew Oldham Orchestra sample of The Rolling Stones' 1965 "The Last Time" starts off the album and "Bittersweet Symphony." BTW, the band eventually got their royalties from the in 2019 after legal issues. The sample continues and is layered with drums and vocals. Being trapped and powerless to change your behavior beyond control. I liked the video and remember this being a very big song. There's scratchy and easy-sounding layered guitars in "Sonnet." More background keys and strings. A love song. I sort of like their more rockin' songs and Nick McCabe finally in the house on "The Rolling People." Sounds very Black Crowes-esque. "The Drugs Don't Work" hit # 1 in the UK. Acoustic guitar, strings and keyboards. Admittedly autobiographical for lead singer Richard Ashcroft. One of their best songs. "Space and Time" is a nice sounding song with acoustic and electric guitar. At times, this music is a dead ringer for Oasis. More layered acoustic and electric guitars in "Lucky Man." My favorite song on the album. The orchestral bscking music and vocals build to the end. I think it's about finding inner peace and love." "Come on" ends the album. Guitar feedback, wah-wah guitar and drums. More rockin.' It gets more chaotic and fades out. This is more like it. This is a very well-produced album with the layered guitars. Their hits are good and well-deserved success songs. I like the two rockin' songs pointed out. It would have been interesting to see a whole album of that. Maybe, that's what their earlier stuff sounds like. At 75 minutes, there is some filler that could have been trimmed but, overall, a good album.

The not-so randomizer struck again this week as I mentioned The Black Crowes in The Verve write-up yesterday. "Shake Your Money Maker" is the debut album from Atlanta, GA rock band The Black Crowes. The Black Crowes were formed and Re fronted by brothers' vocalist Chris and guitarist Rich Robinson. The album title was named after a classic blues song by Elmore James. The music style is described as southern rock, blues rock, hard rock and rock and roll. It was their best selling album and a commercial success selling over 5 million copies which was unique for the time frame given it was nestled between the declining hair metal era and the oncoming grunge scene. It received a mostly favorable reception with some comparison to Faces and The Rolling Stones.... a fair comparison. A classic Rolling Stones-esque guitar riff opens things up on "Twice As Hard." One of the first things you notice is tthat the production is pretty "tinny" and muttled. Vocalist Chris Robinson's is great though for this style of music. Breaking up twice is hard. Another classic rock guitar riff begins their first single "Jealous Again." A piano is added which makes it a little more bluesy. There is a groove thing going on here too. Nice guitar solo at the end. Chris Robinson belts it out on the ballad "Seeing Things." A soulfulness with an organ, a more prominent snare drum and backup female singers added. He's blind to seeing things. The band gets a groove going again on their breakthrough single and a Otis Redding cover in "Hard to Handle." He wants a girl who's with another guy. Chris Robinson kills it again on a slower song, "She Talks to Angels." An acoustic guitar and organ. A real life story about a girl addicted to heroin. The album ends with the band just rockin' and jammin' on "Struttin' Blues" and "Stare It Cold." I admit to being not the biggest Black Crowes' fan. I thought they're OK but not too original. Well, they're really not; some of these songs sounded like cover songs from the Stones' "Exile On Main Street." And you know, that's not entirely a bad thing. This band does rock. Chris Robinson has a great voice for this style. The band is tight and the guitar is great. I wish the album had a better production, but, overall, I have a more of appreciation of The Black Crowes today than back in 1990.

"Elephant" is the fourth album by American rock duo The White Stripes. It received critical acclaim and was a big commercial success hitting #1 in the UK and #6 in the US. I liked the genre descriptions of garage rock revival, blues rock and punk blues. Who makes these descriptions up? I want to be involved! The music added rhythm guitar and a bass. The album was produced by Jack White and mostly recorded in London with antiquated equipment including an 8-track tape machine and pre-60's recording equipment. I didn't mind the lo-fi approach that much; I guess Jack isn't a fan today of how it was done. Well, he did it. This album did win the 2004 Grammy for Best Alternative Album. That bass line which is actually a guitar kicks off the anthemic "Seven Nation Army" and album. A song still heard at literally every sporting event. The soft-loud-soft dynamic that I'm always a fan of. The title based on a younger Jack mis-hearing Salvation Army. An autobiographical song about gossip. The fourth and last single released has a rapping Jack in "There's No Home for You Here." A stomping fast-slow-fast song. Jack croons and does a decent job making the Burt Bacharach/Dusty Springfield "I Just Don't Know What to Do with Myself" sound garage. It works. "Ball and Biscuit" has a slow stomping blues riff and beat. A few searing guitar solos. Supposedly, about a guy trying to impress a girl and the folklore of being the seventh son of a seventh son having supernatural powers. One of my favorite songs on the record. A good example of rhythm guitar is "The Hardest Button to Button." More in the hard rock category and an album highlight. "Girl, You Have No Faith in Medicine" was originally written for an early album. More hard drving guitar. A screaming Jack White. This album has a number of the bigger White Stripe songs. In their catalogue, I like their earlier albums "De Stijl" and "White Blood Cells" slightly better. There are some filler and unnecessary songs but mostly there's a lot here to like.

Ah, it felt good to go back and listen to Radiohead when they were a straight-forward rock band. "The Bends" is the second studio album from English rock band Radiohead. It has guitar songs and ballads and more restrained arrangements and cryptic lyrics than their debut. It was described as being "more spacey and odd." Boy, if they knew what was coming. Their record label Parlophone put pressure on them after the success of their song "Creep" which apparently led to some high tensions recording. It initially had decent critical reviews but gathered nearly universal acclaim as time went on. Swirling winds open "Planet Telex" and the album. We then get reverb guitar and more electric guitar. Maybe about depression. Maybe about reality being unchangeable. The last of six singles released "The Bends" has five parts and garnered comparisons to Queen and others. Well, no. Just no. The guitars and layered guitars rock this song. We come to the first ballad in "High and Dry." The drum start. The acoustic guitar. Nice guitar. Lead singer Thom Yorke said originally it was about a loony girlfriend but morphed into being mixed-up with success and failure. And we in Chicagoland might have "Fake Plastic Trees" to thank or swear at the reason Lollapalooza is in Grant Park. Radiohead was the first band to play at Hutchinson Field in Grant Park on August 1, 2001. I remember reading a concert review in the "Chicago Tribune" that as this song played fireworks went off behind the band and with Chicago Skyline, the atmosphere, venue and everything was just spectacular. Oh, it's a good song too. Yorke's falsetto. When the song takes off midway through. Inspired by commercialism and the death of Jeff Buckley, the song is about the effect of consumerism on modern relationships. I thought I had read at the time, "Fake Plastic Trees" was about a woman getting an enhancement of something. I'm sticking to it. There's great guitar feedback which I appreciate especially if pisses people off and great guitar solos on "Just." Also, inspired by the band Magazine. "My Iron Lung" has a jangly guitar open and goes to a weird melody. Selling out to make money??? My favorite song on the album is "Black Star." Maybe Radiohead's most pop song in their catalogue. I love the melody, chorus and Yorke's vocals. The album ends with a song they commonly end their concerts with in "Street Spirit (Fade Out)." A dark sequence of guitar notes. Inspired by R.E.M. and about the escape of an oppressive reality. Does this foreshadow where they would go next with "OK Computer" and "Kid A?" It's hard not to think where Radiohead would have gone if they had stayed the rock-pop course after listening to album. I think it would have been very interesting. They did basically become the biggest band in the world so I doubt nothing changes there. On its own this a great album and, for me, very high on my Radiohead album rankings.

"C'est Chic" is the second studio album by American R&B band Chic. The music genre isclassified as disco, funk and R&B. I'd add a little bit of jazz too. It was produced by guitarist Nile Rodgers and bassist Bernard Edwards and was their most successful album peaking at #4 in the US and #2 in the UK. A crowd cheer and horns open "Chic Cheer." The groove sets in. Nile Rodgers' guitar and Bernard Edwards' deep bass. The whole band and others are singing a repeated "Chic, Chic." Let's party! Awwwwww..Freak Out and we're off with "Le Freak." Now this would be at the very top of my list if you had me name a disco song. Great production with the groove, horn and strings. "Savoir Faire" is lush with strings. A prominent bass. I would categorize this as jazz with the guitar. And a guitar jam too. The familiar bells, horns and bass announce their second big single "I Want Your Love." Smooth. The much-copied "scratchy" Niles Rodgers' guitar. Alfa Anderson killing it on the vocals repeating "I Want Your Love." Almost a Sister Sledge song. A great deeper cut is "At Last I Am Free." This is slower, a ballad, with strings and piano. One of the best songs on the album. The album ends similar to how it began with crowd noise on the mostly instrumental "(Funny (Bone)." A disco/R&B jam. There's disco. There's what I would call R&B nowadays. There's a ballad. There's a jazz song. There's the much copied Nile Rodgers' guitar sound. The songs are in the five to minute range and most of the songs get a great groove going. There's a lot to like here.

"Tuesday Night Music Club" is the debut album by American singer-songwriter Sheryl Crow, although she did have a prior unreleased album. The album title comes from an ad hoc group of musicians who came together on Tuesday to work on the album and many of those people have song writing credits. As probably predicted after the success of the album many of these relationships unfortunately became acrimonious. The music is classified as pop, rick and blues. OK. The album took awhile to take off commercially which happened after the release of the fourth single "All I Want to Do." It reached #3 in the US and #8 in the UK. The first song and single "Run Baby Run" has piano and a slow guitar start which sounds directly off The Beatles' "White Album." Nice vocal chorus. It builds drama. Maybe my favorite song on the album. Semi-autobiographical about being born in the 1960's to hippie parents in a conservative time and running away from everything and everyone. Percussion, haunting keys and then an acoustic guitar begin "Leaving Las Vegas," the first song I remember from her. I always liked her strained and wobbly vocals. I would guess about getting away from the messes in your life. An acoustic guitar, bass and a simple love song in the fifth single "Strong Enough." An electric guitar riff opens the sixth and final single "Can't Cry Anymore." A pop stomping beat. Nice backing vocals. The Chicago Trribune compared this song to The Stones' "Honkey Tonk Woman." Hmmm, I'll have think about that. The second single "What Can I Do For You" has more of a drum beat, soft keys and a bluesy guitar. Sheryl almost whispers then shouts. A personal song about sexual harassment. "Hey, this ain't no disco" with the disco guitar kicks off "All I Want to Do." The songs lays into an easy pop groove and she sings about drinking beer in the morning, flicking matches into ashtrays and going to car washes. What if we had no point in life. Hey, what's wrong with doing what's she doing? Sounds like fun to me. The album ends with soulful "I Shall Believe." A hopeful song more in the R&B/pop category. I actually never had listened to album from start to finish but had heard most of these songs. The lyrics are strong some autobiographical, some stories. The songs are solid musically with elements of blues, country, pop, soul and rock. Back in the day I really had no interest in this album partly cause it was all over the place; today it sounded good.

"The Marshall Mathers LP" is the third album by American rapper Eminem following his hugely successful "The Slim Shady." This album was even more successful debuting at #1 on the Billboard charts. It was produced by Dr. Dre and Eminem. A lot going on here. The music is defined as horrorcore, hardcore hip-hop and satirical. Yep. The word transgressive work was also used which I had to look up and is a work aiming to outrage or violate morals. Mission accomplished. The lyrics are introspective with thoughts on his rag to riches, criticism of music and the music industry and estrangement from his family and wife. Lots of controversy as the lyrics taken at face value are violent, homophobic, misogynistic and mentions Columbine. Is he being satirical though? Many critics find this album to be Eminem's best. An announcer introduces Slim Shady as a guy who does not give a fuck about what you think and is going to kill you in "Public Service Announcement 2000." That rolls right into "Kill You." A slow beat and repetitive keys. A song about his struggles with his mother. A sinister laugh and Slim is still going to kill you. "Stan" uses extremely effective sampling of Dido's "Thank You" giving a haunting feeling matching the lyrical content. And the lyrics detail with obsessed Eminem fan Stan who repeatedly writes him detailing his life and struggles with his girlfriend and other chilling things. The story does not end well for Stan. Brilliant song. The second single "The Way I Am" has repetitive tubular bells and piano with the beat. Great authoritative rapping. His negative impact on the youth culture. "I Am Who I Say I Am." Creepy and amusing keyboards highlight the first single "The Real Slim Shady." A great repetitive chorus. "Please stand up, please stand up." He pokes fun at Brittany Spears and Fred Durst among others. The music on "Bitch Please II" sounds like it's directly off of Dr. Dre's "The Chronic" as well it should as Dre as well as Snoop Dogg, Nate Dogg and Xzibit take part in the rapping. And then we come to "Kim." Christmas bells open which goes to the Exorcist theme (I see you "Tubular Bells" connection) to chaos. It was supposed to be a love song to his girlfriend Kim. Well, he struggles with his wife, he is going to hit his wife, can't live without his wife and eventually kills his wife. Ahhhh, love. I'm exhausted. There's no doubt to the brilliance of Eminnem's rapping, lyrics and music on this album. A very busy album. However, you interpret it, it's a trip worth taking at least once.

"The Atomic Mr. Basie" is an album by American jazz pianist, organist, bandleader and composer Count Basie and his Orchestra. Swing and big band are the noted genres. This apparently caught a lot of the big band core audience by surprise with its forward-looking statement within a big band recording. A fair bit of free-form jazz going on here for sure. The Orchestra included four trumpets, five trombones, five on sax and flute, a drummer, a guitarist, a bassist and Basie on piano. This album won Best Jazz Performance for Group and Best Performance by a Dance Band at the first Grammy's. Wow! "Kid from Red Bank" kicks things off with piano, horns and a prominent rhythm section. Back and forth between the piano and horns. A piano jam. It was written by Basie and Neal Hefti who would go on to do a lot of 60's TV songs including Batman! "Whirlybird" has a big horn start and a driving bass. Hey, a horn jam. The album ends with my two favorite songs. "Fantail" is fast paced. A great drum solo. OK, I could dance to this. An explosive horn ending. "Li'l Darlin" is slow and sultry. More jazzy and relaxing. Dominating horns. I've opened up more to big band musictoday than from the early to mid 1970's where I'd be forced to watch PBS Lawrence Welk re-runs while staying at my grandparents. The only break I'd get was having to run down to the basement and get my Grandpa another beer and since that was quite often, it lessen the big band pain. Now, I would quite enjoy this: the music. Not running down to the basement. Anyway, an enjoyable listen if like big band music or even jazz.

"The Fat of the Land" is the third studio album from the English electronic music group The Prodigy (now just called Prodigy btw). It was their first album to feature vocalist Keith Flint who was lead vocalist on four songs and co-wrote three. Their music genres listed are big beat, electronica, electropunk, electronic rock technology and dance rock. I wrote that just to write electropunk but all those fit. The album was surrounded by controversy by the National Organization of Women and the song "Smack My Bitch Up" and its misogyny. No matter what the band really meant, there's no getting around that with the title. The album received critical acclaim and reached #1 in both the UK and US. The album gets right into it with "Smack My Bitch Up." A repetitive beat. Driving synths. Weird noises. A distorted sample of Kool Keith's vocals of the Ultramagnetic MCs repeating "Change My Pitch up/Smack My Bitch Up" from the song "Give the Drummer Some." Supposedly about about doing anything intensely. An eerie synth opening on their second single "Breathe." A jittery beat. A sample of a whirling sword sound. That's original. Flint on vocals. A big song from what I remember. "Mindfields" sounds more techno. The beat is pounding like a hammer with a more Middle Eastern melody on the synths. Distorted lyrics. Life is like walking through a minefield. Really good song. Their first single "Firestarter" has a faster beat, a helicopter-type sound and annoying weird noises. I remember being kind of annoyed when this came out; it sounded OK today. They cover L7 on the last song "Fueling Fire." Here's the electropunk. This sounded like if early Gary Numan met Ministry and it works. I expected this album to sounded dated but I actually liked it. It's pretty solid throughout and they vary the music up throughout. I see the controversy in the first song's title and lyric but beyond that there wasn't too much offensive unless you rather dislike the music then it is. An album worth going back to if your a fan of the six genres previously mentioned.

A logical next album from The Prodigy would be Mariah Carey. Thanks Randomizer. Same year though. "Butterfly" is the sixth studio album by American singer-songwriter Mariah Carey. This album was a further move from Mariah away from strictly pop and into R&B/hip-hop. Yeah, there is a decent split between the two styles. Of couse, in no way do I think of Enimem listening to this. Using a number of different producers including Walter Afanasieff (more pop) and Sean "Puffy" Combs (more hip-hop) helped the diversity. Mariah was separated from her then husband which contributed to some of the lyrical content. The album received general acclaim and sold over 10 million copies worldwide. The album opens with the first single "Honey." It was written with Puff Daddy. Light and airy. Hip-hop with a nice bass. A catchy chorus. She wants the honey. Take that as you may. The second song and single switches to a Aranasieff-produced ballad song in "Butterfly." A piano and a soulful chorus and backing vocals. Let someone from free and see if they come back. A Latin guitar and slow beat highlight the ballad "My All." Inspired by a trip to Puerto Rico. Mariah belting it out. "The Roof (Back in Time)" has more heavy beats and in the R&B/hip-hop category. A sample of Mobb Deep in the chorus. The production of Puff Daddy highlights the third single "Breakdown." A nice blend of R&B and hip-hop. Layered vocals. Two members of Bone Thugs-n-Harmony rap a few of the verses. The album ends with "Outside." It's a slow ballad about Mariah's biracial experience. Maybe her best vocals on the album- souful and beautiful. This was about expectations. I had very low ones coming in. Not exactly in my wheel of music but this was fine. I had heard a few of the songs of course. Mariah has a phenomenal voice. It had great production. The variety between her hip-hop/R&B and pop ballads kept it fairly interesting. I know you can a lot worse in the pop category circa 1997.

"Black Holes and Relevations" is the fourth studio album by English rock band Muse. The album was recorded in three countries and noted for a change in style incorporating influences from Depeche Mode, Millionaire, Lightning Bolt and Sly and the Family Stone. OK. I see that. The music is classified as alternative rock, progressive rock and space rock. Yep. Sometimes in the same song. Sometimes all three at the same time. There is a lot going on in their songs. The lyrics address political corruption, alien invasion (one song), revolution and New World Order. There are some just love/relationship songs. "Take a Bow" begins things with a swirling blend of classical, electronic and rock. A Moog synth. Dramatic guitar at the middle and end. Lots of drama in their songs. An attack on NWO leaders controlling everything. This sounds like Queen. The second song and single and probably my favorite is "Starlight." A more straight-foward alt rock melody and the heavier guitars. OK, on their third single "Supermassive Black Hole," we get their 90's Depeche Mode imitation. Lead singer Matt Bellamy going falsetto. They then go space rock with the guitar. I think this about getting sucked into a relationship with a person that inevitably going to dump you. The last and fifth single "Map of the Problematique" had the riff written wuth a keyboard and then translated and split into three guitar signals. This is when this album tends to lose me; there is so much going on, way too busy. The album ends with "Knights of Cydonia," best known by me as one of the last songs of Guitar Hero III. It was tough. The song itself goes from space and laser sounds to a driving guitar and keyboard to a guitar jam. And a lot more. This was frustrating. I like a few of the songs and parts of most of the songs but they try to do so much on every song it was giving me a headache. When I need to draw a diagram of the musical changes in each song just to keep up, I don't find that fun. Muse has had a very successful career so there is a lot of people that like them. And, heck, I saw them in the last few years and enjoyed it. Not today.

"Ten" is the debut album by American rock band Pearl Jam which was formed by guitarist Stone Gossard and bassist Jeff Ament after the dissolution of the band Mother Love Bone following the death of Andrew Wood. The songs were instrumental jams and reworked Mother Love Bone songs and newly added vocalist Eddie Vedder composed melodies and the lyrics. The music is classified as grunge, alternative rock and hard rock and the album was attributed as instrumental to the mainstream rise and success of alternative rock in the 90's. Looking back at it now, I would just classify this as hard rock. When I think of grunge musically, it's more Mudhoney, Alice in Chains and Soungarden nowadays. They do rock the flannel though. The lyrics are serious dealing with depression, suicide, loneliness and murder. An interesting fact: the title "10" is named after the number worn by NBA player Mookie Blayloch which was the first name of the band. "Once" opens with a weird intro by bassist Jeff Ament "Master/Slave" and then kicks in with the creepy guitar which goes more driving. The layered guitars. Serious lyrics and the second part of the momma-son opera "Mamasan Trilogy" and about a killing spree by the sexually abused main character. Apparently semi-biographical for Vedder. The guitar open and then the groove highlight their second single "Even Flow." The most Pearl Jam song I know. About homelessness and the inability to cope. The first single and part of the "Mamasan Trology" is "Alive." The anthemic vocal and musical choruses. The drama builds. A great guitar solo. The son discovers that his father is actually his step-father and that his real father died. Given his likeness to his father, his Mother sexually abuses him which leads to part two. Not letting up on the seriousness "Black" tells the story of a bad breakup in which he can't let go. I've always like mono-like guitar opening and bass drop. One of their bigger songs that was never a single. Speaking of big songs, "Jeremy" kicks off the album second half with its guitar and bass. Clasic rock. The famous video where, well, Jeremy goes into a classroom with a gun and it doesn't end well for him. Based on a real story. "Oceans" was the fourth and last single. The music builds and slows down. The albums ends with "Release" which I think is Vedder's best vocals on the album with him exploding at the end. The music sounds like Rush to me. That's a good thing in my world. It's about the relationship he never had with his father. I realized that the lyrics on this album were fairly serious and knew the Jeremy song but until today I didn't know the personal details. I think that adds to what I think of this album. The first half of this album is great, classic rock. It does let off in the second. The mix and sound are not great. Obviously, an album that comes to front of my mind when I think of 90's music.

"2112" is the fourth studio album by Canadian rock band Rush. It was make it-or-break-it for them on their record label Mercury Records after their commercially disappointing "Caress of Steel" and tour. Well, they made it. Terry Brown was the producer and the band continued down the progressive rock path as the whole first side is one song, a seven part track inspired by the dystopian Ayn Rand 1937 novel "Anthem." "2112" hit #5 on the Canadian charts, broke them through commercially in the US and the band toured Europe. "Part I: The Overture" kicks off the album, the self-titled song and is one of the best jukebox bargains as the whole song is 20-minutes long. It's spacey, it changes pace and it's got Tchaikovsky. "The Meek Shall Inherit the Earth" and we head into the rockin' "Temples of the Syrinx." We meet the priests who outlaw creativity and invidualism, live in the temples of Syrinx and take orders from computers. If Geddy Lee's voices irritates you, here's Exhibit A as he brings it screaming. The next four section describes a guy who discovers a guitar and music, takes it to the priests who destroy it, dreams of another world where music is allowed but eventually gets depressed and kills himself. The music goes fast and slow as the story unfolds. The band jams on "Part VII: The Grand Finale" as the other world goes to war with the Priests. I don't think it ends well as the last words we hear are "We Have Assumed Control." The second half of the album of the album is more standard rock. Guitarist Alex Lifeson stands out on "A Passage to Bangkok" which is an ode to all places that grow the best weed. His layered guitars. His oriental riff. "The Twilight Zone" was written based on the TV show. It's slower and sounds like a 1980's heyday metal ballad. Hmmm...I'm not sure that's good or not but definitely influential. The last song on the album is "Something for Nothing." More layered guitars, actually what I would call classic Rush guitar. About freewill and decision making. Listening to this album is like listening to two different albums. The first part is brilliant, original and rocks. The second half sounds similar to their previous album "Caress of Steel" which is not altogether a bad thing. If you like Rush, you love this album and if you don't like Rush, you hate this album. I put "2112" as my second favorite Rush album with "Moving Pictures" edging it out.

"The Man-Machine" is the seventh studio album by Kraftwerk. It was noted for a refinement of their electronic musical style and incorporating more dance rhythms. It is a very focused album. The album was initially unsuccessful but four years after its release reached #9 in the UK. It had very positive reviews and was thought to be very influential to the 1980's synth-pop scene. Warning sounds begin "The Robots" which has a danceable rhythm and a nice synth melody. The lyrics sent through a vocoder repeat "We are the robots." Making a statement about the dehumanizarion for workers using technology. "Metropolis" builds synth notes and a moog-disco beat. Slow and long-held synth notes. Very sleek sounding. Repeating the word Metropolis. Their second single "The Model" has a seductive synth melody. Very simple. Very stoic. A statement about being obsessed with beauty, shallow and superficial. A melancholy feeling pervades " Neon Lights." There's shooting star sounds. The synths get more complex and layered. The album ends with "The Man-Maschine." A suspenseful melody. Machine noises. Nintendo and Mario were listening. This a great album, very minimal and economical. There's only six songs but each conveying a different emotion yet important in the overall album flow. Great melodies and rhythms. This might be my favorite Kraftwek album.

"Pyschocandy" is the debut album by the Scottish rock band The Jesus and Mary Chain. It is considered a landmark recording of guitar and noise with a pop melody. That's a good description. It was also influential for the future genres of shoegaze and alternative rock. More on that later. The band was brothers Jim and William Reid (guitar, vocals), Douglas Hurt (bass) and Bobby Gillespie (drums and soon to be leader of Primal Scream). There were many bands listed as influences/influential including The Velvet Underground, The Stooges, The Stones, Einstürzende Neubauten but the band standing out for me is Suicide. The drum bang and those anthemic guitar chords strike up "Just Like Honey." Jim Reid almost whispering. Great backing vocals at the end by Karen Parker. An 80's alternative classic. Is it about the difficulty of going back to someone and admit you're wrong or oral sex. Let's say both. I have to admit the first song that got me into this band was hearing "The Hardest Walk" in the movie "Some Kind of Wonderful." Let's hear it for John Hughes in the 80's. It's more melodic pop: the best example of this on the album. A searing guitar solo. Obviously about walking away from someone. "Taste of Candy" gets us back to the echo, constant white noise, feedback and a simple beat. A darker tone probably about taking speed. A lot of these songs are about taking drugs or at least you could draw that conclusion. The first single "Never Understand" starts with feedback but goes to a pop melody. About drugs and self-abusive behavior. A screeching, white noise, feedback, long ending. Suicide in the studio. The second single "You Trip Me Up" continues with the feedback and a guitar sounding like a buzzsaw. It's about....well, you know. The album ends with the Suicide-esque "It's So Hard." Haunting and whispering vocals. Mechancal noises. More feedback. There's a lot to like about this album. Short songs, none longer than 14 minutes, get to the point. The mix of guitar being louder than the vocals almost making them indecipherable but more mysterious. There is an obvious direct line from Suicide to The Jesus and Mary Chain to the shoegaze genre. And I'm a big shoegaze fan. I like their subsequent albums but none reach "Psychocandy" heights.

"Fresh Fruit for Rotting Vegetables" is the debut album by the California punk band Dead Kennedys. And punk it is. Comparisons were made to The Sex Pistols" Never Mind the Bollocks." Members of the band include Jello Biafra (vocals), East Bay Ray (guitar), Klaus Flouride (bass) and Ted (drums). Great names! The lyrics are satirical and Jello takes aim at big business, conservatism, society, media, fascism, parents, the elite, democrats, western society, violence and the poor. I probably missed five to ten other areas. The album cover sets the stage as it shows police cars in fire during the 1979 White Night Riots in 1979 from the light sentencing of San Francisco mayor Dan White for the murder former mayor George Moscone and associate Harvey Milk. "Kill the Poor" starts out slow and goes straight to punk. A 60's sounding chorus. Jello's unique wobbly vocals. Nice tuneful guitar. A satire of the rich who would wipe out the poor with a bomb. "Let's Lynch the Landlord" is almost danceable. More anthemic and the guitar is more surf rock which is heard throughout the album. The mob is going to kill the bastard landlord. Let's singalong everyone: "Let's Kill the Landlord. Kill the Landlord." The second side begins with their famous "California Über Alles." More surf guitar and military drums. Very catchy. Slows down. Speeds up. An attack on then California governor Jerry Brown and his fascist vision of America. "Holiday in Cambodia" was written after the Khmer Rouge genocide in Cambodia and contrasts western college students that with Cambodia. That scratchy, Creep guitar open and melody. Great bass line. Finally...what we need in the world is more punk covers of Elvis Presley songs and we get "Viva Las Vegas" Jello goes Elvis. This pretty hilarious. Now, he's attacking the poor for gambling and using drugs. For the most part, this album totally rocks. Most songs are in the two-minute maximum range making The Jesus and Mary Chain look like their performing The Allman Brothers' live version of "Mountain Jam." The surf guitar sound works great here. Never a dull moment.

"John Barleycorn Must Die" is the fourth studio album by English rock band Traffic and their comeback after a brief breakup. The album began as a Steve Winwood solo album ("Mad Shadows" which become the name of Mott the Hoople's second album). Steve couldn't complete his album without the band and got the band back together with Chris Wood (percussion, sax, flute, organ) and Jim Calpaldi (drums). Minus Dave Mason however. Winwood would play piano, organ, bass, vocals and guitar. This album is a mix of jazz, blues, traditional folk and prog rock. It did receive mixed reviews. Yeah, I can see that. It begins with the instrumental "Glad." The classic Traffic sound (what I think nowadays) with piano, percussion and horns. Jazzy especially with the horns. Piano, seductive sax and organ start "Freedom Rider." And we get the flute and flute solo. 70's flute guy is in high action here. "Empy Pages" was one of Winwood's solo songs and is more classic rock and kind of strays into prog. It's about struggling writing songs and having a girl comfort him. The most straightforward lyrics on the album. "Stranger to Himself" has a groove and is bluesy. The electric guitar stands out. Classic 70's rock. "John Barleycorn (Must Die)" takes the old tale and keeps a folk tradition. More flute! It's about cultivating grain and making alcohol and in the bigger scope, the cycle of life...birth, growth and death. The album ends with a very busy song in "Every Mother's Son." Searching for spirituality and something more in life. This album was enjoyable...fine. I don't think it lives up to their previous albums with Dave Mason or their next one "The Low Spark of High Heel Boys" but the music is solid. A lot going on musically maybe too much at times.

"Melody A.M." is the debut album by Norwegian electronic music duo Röyksopp. A good description of this music is "an across-the-board mix of bleepy synths, crunch beats and ambient, dreamy vocals with even a bit of disco mixed at times." The musical genres include downtempo, trip hop, chill-out, house, ambient and techno. Yep, all there. Röyksopp consists of Svein Berge and Torbjørn Brundtland who met when they were younger. The album received universal acclaim and topped the UK Dance and Independent album charts. There were five singles released with the first being "So Easy." Eerie synths. A dance beat. It samples Bobby Vinton's "Blue on Blue" with a vocal chorus. OK. Good start. "Eple" has more of a groove and is chill. It picks up with synths and a melody. "Sparks" has a slower R&B beat. Female singer Anneli Drecker gives it a soulful feeling. Dreamy and is Portishead-esque. The third single "Poor Leno" is in the chill category. A male singer now with Erlend Øye. This is easy dance. A nice flow. Erlend Øye continues the vocals in "Remind Me " my favorite song on the album. More a dance "club" vibe. 60's keyboards. Nice bass. Catchy chorus repeating "Remind Me, Remind Me, Remind Me." The variety of the songs kept this interesting for me. It reminded me of the Air "Virgin Suicides" soundtrack. That's a good thing. This is a decent album and one if you're into chill-wave and dreamy music, you probably will like.

"fROMOHIO" is the third album by American alternative band fIREHOSE. It was noted as a continuation of the acoustic and folky style of their previous album "IF'n" and a funk, jazz and Minutemen punk fusion. It sounds like a lot but it kind of makes sense after listening to this. I thought of a lot of other bands throughout. fIREHOSE was a band formed by bassist Mike Watt and drummer George Hurley after the death of Minutemen guitarist/vocalist D. Boon, the dissolution of that band and combining with guitarist/ vocalist Ed Crawford. Drum cymbals and funky guitar highlight "Riddle of the Eighties." It's enjoyable. It's low-fi electric rock. I immediately think of the Meat Puppets. That's a good thing. Next, "In My Mind" changes things up with a idiosyncratic guitar, bass and guitar. "What Gets Heard" has a funky bass and drums. Angular guitar. A guy talking as vocals. OK, now I hear Primus. Oh no. Never worry, all of sudden we're going Irish folk in "Liberty for Our Friend." Actually 60's folk. Unbelievably, very nice harmonies. Where'd that come from? For me, this whole album really clicked with "Time with You." More straight-forward rock. Mike Watt really grooving with a funky R&B bass. A happy song. "Some Things" sounds so 80's indie. My favorite song on the album. More punk. Great melody. Hurley on drums killing it. Very heart-on-the sleeve and reminded me of The Replacements' "Buck Hill." Actually much better. The album ends with another good song in "The Softest Hammer." A classic rock guitar and the soft-loud-soft song dynamic. This album took awhile for me to warm up to but when it did. Wow! The second half of this album is fantastic....just classic 80's indie rock and that will get me every time. Well, most times. The rhythm section of Watt and Hurley is worth listening to this album alone.

"Tres Hombres" is the third studio album by the Texas rock band ZZ Top. Southern rock, blues rock, Texas blues and boogie rock. Yep, all of those descriptions make ZZ Top come to mind. Not quite disco blues yet. It was their first collaboration with engineer Terry Manning and was produced by Bill Ham. It was also their commercial breakthrough reaching the top ten in the US. It did receive a lukewarm critical reception. Hmmmmm. At the very least, it's a decent album. A drving-bluesy riff opens "Waitin' for the Bus." The groove. Billy Gibbons on the harmonica solo which goes to a guitar solo. Waiting for a bus going to the big house? The song blends right into "Jesus Just Left Chicago." Some controversy here; did engineer Manning do this on purpose or was it an accident? It's history now. More bluesy guitar and beat. Dual lead singers highlight the rockin' "Beer Drinkers & Hell Raisers." More in the classic rock vein. Almost a metal riff. Motörhead did cover the song. Street cred earned. "Master of Sparks" tells the story of a guy building a steel cage ball in which he sits in and gets let off the back of a pick-up truck going 60mph. It doesn't end well for him. A unique syncopated beat. "Move Me on Down the Line" is a good hidden track. What I would call very mainstream and melodic rock. I think Cheap Trick might have been in the room. And we get the guitar and drums sounding like a horse to open "LaGrange" which then takes off. "A-haw, haw, haw, haw." Has to be up there with the most famous songs about a whorehouse. "Have You Heard?" ends the album in a slower, bluesy way. Dual vocals. Actually soulful. This album is formulaic: lay down a rhythm, throw in one or two guitar solos and keep it at three minutes. But, it rocks. At 31 minutes, they keep it short. Really no fillers. And at least four of the ten songs being their best.

"Post Orgasmic Chill" is the third studio album by British rock band Skunk Anansie. It was a departure from their previous two albums of punk and alternative rock into more alternative metal. Oh, no...not alternative metal. We really have to 1999 alternative metal it? Luckily, they do have some songs in other styles. Cool names for the band members: Skin (vocals), Cass (bass), Ace (guitar) and Mark Richardson (drums). The album starts with their first single "Charlie Big Potato." An electronic synth music opening going straight into a metal riff. I immediately think Evanescence. Skin's lyrics are very emotional and dramatic singing about abuse and consequences. Skin's soulfulness stands out in "Tracy's Flaw." Slower (than the previous three alternative metal songs) with an eerie guitar. Tracy will use and abuse. Hey, they go pop with their third single "Lately." This is catchy and poppy. Skin actually singing. Wow! Let's go baroque metal in "Secretly." Strings added. Even more pop than "Lately." Skin showing her strong voice. Their last single released "You'll Follow Me Down" continues the strings and adds an acoustic guitar. Don't follow her, she'll drag you down. The album ends with a ballad "I'm Not Afraid." They're firmly in alternative rock area now. Nice melody and song. I have to admit I had no idea where this album was going. I'm definitely not a late 90's alternative metal fan; that's where this album started but really went more pop and alternative rock midway through. There's no doubt their lead singer, Skin, is dynamic and showcases a strong voice. I can see why they had a lot of commercial success in the UK. I did enjoy the second half of this album.

"Raw Power" is the third studio album from American rock band The Stooges. The album was a change from their two previous albums going into more hard rock with new guitarist James Williamson who co-wrote the songs with vocalist Iggy Pop. The Stooges had previously disbanded due to lack of commercial success and drug and alcohol issues. Iggy wentbto London to record a solo album with Williamson, they added former Stooges Ron and Scott Asheton as the rhythm section and reformed as Iggy and The Stooges. There's a lot on the mixing and remastering of this album with Iggy mixing the first and later versions and David Bowie mixing the second version. I listened to the remastered Iggy mix. This album was very influential and is known as a fore-runner for punk rock. "I'm a street walkin' cheetah with a heart full of napalm" and we rocket off with "Search and Destroy." It's fast. It's got a 60's guitar sound played with a controlled chaos. The title taken from articles written on the Vietnam War. "Gimme Danger" is more melodic with an acoustic guitar. Actually evil sounding. Iggy screaming. He wants a dangerous girl. "Penetration" has classic heavy metal guitar. Hello Black Sabbath. It's got a groove. It's pyschedelic; you can hear Iggy playing the celesta. No need to go deeper into the meaning...OK, didn't need to say it that way. The Stooges didn't forget their garage rock roots in "Raw Power." A piano added. Iggy doing his thing. The album ends with an appropriate loud song in "Death Trip." This is essentially a song-long searing guitar solo with the underlying rhythm guitar and rhythm section. Iggy is howling. "Baby, come along on my death trip." This album is dirty and bad-ass. I'm being totally cliche here but Iggy and the band sound like they were unleashed from a cage. Relentless at time. Williamson 's guitar is absolutely fantastic. A sound that you would here over the next few decades. This album influences are far and wide: Sex Pistols, Johnny Marr, Nirvana, Sonic Youth, Black Flag and many more. An album everyone needs to listen to.

"The Wlldest!" is an album that was recorded by New Orleans trumpeter and vocalist Louis Prima, vocalist and wife Keely Smith and saxophonist Sam Butera and The Witnesses. The album was recorderded live at the Las Vegas Sahara Lounge at 3AM on April 19, 1956. The genre is swing and jump blues. The album begins with a cover medley of "Just a Gigolo" and "Ain't Got Nobody (And Nobody Cares for Me)." Now this is fun. Swing and jump blues....Yes. Great female backing vocals. A sax and trumpet solo. Of course, a lot of people may know this from the David Lee Roth cover. Keely Smith takes over the vocals on "(Nothing Too Good) For My Bady." Horns. Piano. Goofy vocals making up sounds as they go as Louis joins in. "The Lip" continues the fun and games. More blues with piano. "Yip. Yip, yip...no one plays like Louis the Lip." The piano that is. A song that defines swing and jump blues is "Jump, Jive an' Wail." Great horns. A piano solo. Another song remade later on by Brian Setzer. "Buona Sera" is a serenade to Napoli, the Mediterranean and his girl. Prima scatting and the song starts to jive. Sax, noises, clapping and I'd imagine lots of dancing while recording. I'd never thought of time traveling back to 1956 but if I did I'd probably want to be in The Sahara Longe on April 19 at 3AM. I can see why a number of artists have covered versions of these songs. A album to kick back and have fun to.

"Odelay" is the fifth studio by American studio musician Beck. It was the follow-up album to "Mellow Gold" and began more subdued and acoustic wiith only three songs recorded and one making this album, producers Tom Rothrock and Rob Schnapf were then exchanged for The Dust Brothers who had worked with The Beastie Boys and Young MC. Good move. This album has everything thrown in it. I like this description of the music - elements of folk, country, louche electronica, old-school rap, noise rock, sampldelia and pyschedelia. Yeah, and sometimes within the same song. The album received universal acclaim and won a Grammy for Best Alternative Album. A thick guitar sounds starts "Devil's Haircut." Great production and a foreshadowing of all the busy-ness in most of these songs. The beats. A sampling of James Brown. A collage of pyschedelia and ending with distorted screaming. "Hot Wax" begins with a country-blues guitar, a sound Kid Rock wanted to become but much, much cooler. The song progresses into almost Chemical Brothers' territory. A spacey, dreamy intro transitions into a Beatles' "Taxman" song structure with a revved-up beat in "The New Pollution." An organ jam. The media and internet polluting. Not so new anymore. Floating keyboard and guitar sounds highlight "Jack-ass." It's a ballad. A jazzy- night club beat. Hey, this song stays focused. One of the few. My favorite on the album. This is a close to The Flaming Lips and, funny enough, The Lips have been Beck's backing band. A melancholy keyboard beginning and then Beck goes hip-hop in "Where It's At." Everbody saying, screaming, singing "Two turntables and a microphone." Robots, Beck, distorted vocals. Heavy scratching. "Sissyneck" is more groovy and bass driven. Slide guitar and country with a hip-hop beat. The album ends with "Ramshackle," one of the songs written prior to The Dust Brothers. Slower, acoustic guitar, beating on buckets, melancholic again. This album probably would not have an entirely bad album if it stayed this course. This album still sounded fresh. Yes, most songs are very busy...lots going on. I typically tend to like simple music with a few instruments and sticks to one or two styles. This is anything but that but it totally works. For me, far and away, my favorite Beck album.

"Rocks" is the fourth studio album by American rock band Aerosmith. This album is known as a highlight of their career and capturing the band at their most raw and rocking despite their heavy drug use. It is without doubt a most rocking album. At the time, it received mixed reviews but later very positive reviews. And, it was a big commercial success in the US going quadruple platinum (4,000,000 copies). The album begins with the slow, creepy guitar build-up in "Back in the Saddle" which ends in a Steven Tyler scream. A bad-ass groove. Chunky guitar. Whips, clicking spurs and galloping horses. You can't go wrong singing about cowboys and sex. The first single "Last Child" opens with a classic heavy metal acoustic guitar. It transitions to a more rockin' sound. Tyler struttin'. Great guitar solo. "Rats in the Cellar" was their answer to "Toys in the Attic." This is harder and driving. Great layered guitars by Joe Perry and Brad Whitford. It's real life as things are coming apart within the band. "Sick as a Dog" is the most straight-forward rock song on the album. Catchy vocals and guitar chorus. A deeper cut and my favorite song on the album. "Nobody's Fault" is the band's favorite song on the album. It's heavier. Gun 'N' Roses were in the room and actually were quite literally as Slash cites this album as one of his inspirations. The album ends with the ballad "Home Tonight." Piano. Lap steel guitar. Foreshadowing of what was to come a decade later? This is great album. Focused. Rocks hard. Melody hooks. Great layered guitars. A tight, tight band despite what state they might have been in. I had to listen to "Toys in the Attic" again to verify but, without question, "Rocks" is their best album and a hard rock classic.

"Either/Or" is the third studio album by American singer/songwriter Elliott Smith and was his last solo album with indie label Kill Rock Stars before transitioning to a major label. His musical style is categorized as indie folk, indie rock, lo-fi and Americana and this album, in particular, was described as "a bridge between the lo-fi darkness of his first two albums and the studio sheen of his next two and final major label albums." That pretty much nails it when he goes acoustic and then also shows his strength as a pop song writer. The album title was derived from Danish philosopher Søren Kierkegaard and his book which contrasts the aesthetical/subjective and the ethical/objective being. Interesting and on point for a lot of these songs "Either/Or" was Smith's best selling album and producer Gus Van Sant also used four songs from these recordings in his movie "Good Will Hunting." The first song and single "Speed Trials" has Smith whispering with an acoustic guitar. Pounding soft drums. Nice vocal harmonization. Is it about the inability to confront oneself about happiness and completeness or drug use? Probably both. Smith flexing his pop-writing muscles on "The Ballad of Big Nothing." Beatles-esque with the backing vocals. "Do what you want to whenever you want to." I can't help thinking it's about drugs again. An interesting almost acoustic riff of Neil Young's "Cowgirl in the Sand" opens "Between the Bars." Another good song. The need to control someone. Hints of alcoholism and love. And for the third song in a row, Smith has me thinking of another band and this time it's The Monkees in "Pictures of Me." A nice pop song with harmonies and he's actually singing instead of whispering. Realizing when you see people doing something wrong, you can do it too. The album has a lot of references to Portland, OR where Smith had relocated. His previous band Heatmeiser and him had lived in LA and he writes and sings about that in "Angeles." Not such the love letter send off as there are forces (LA, drugs) that make you do things. Impressive finger picking by Elliott on his guitar. The most dramatic song on the album is "Cupid's Trick." Sort of evil sounding. Acoustic and electric guitar. The final song "Say Yes" has both lead and rhythm acoustic guitars. Dealing with the day after sleeping with someone. If you can conjure up The Beatles, Neil Young and The Monkees, you are either doing something very right in my eardrums or I might be taking the same drugs that you once were. Regardless, this is a fantastic album balancing Smith's talent of as a pop-song writer and him as lo-fi acoustic hipster. His best album for sure. His next album "XO" is great as well.

"Sound of Silver" is the second album by American rock band LCD Soundsystem. It's a combination of dance and rock. No better example of that then this album. It has also been categorized as dance-punk, dance-rock, electronica, electronic rock and indie rock. I love spelling out those genres daily since they might be the first and last time I hear or see some of them and have really no desire to dig deeper...again in some of them. LCD Soundsystem is basically James Murphy who plays everything and then others. This album received universal acclaim...rightfully so. An interesting fact: Murphy covered the entire recording studio in silver fabric and aluminum foil. And this album was recorded before " Better Call Saul." "Get Innocuous" gets the party started with percussion which builds becoming more complex. A repeating synth comes in... now we're dance. Hypnotic. It's a rat race, running people mindless. Of couse, when I hear this nowadays I immediately think of Grand Theft Auto 4. The album gets more funky and bass driven with "Time to Get Away." It's about getting away from an old manager. Cherry Glazerr did a killer cover version of this on their Sirius XMU Sessions. Droning sounds go into a Michael Jackson "Beat It" beat in the first single "North American Scum." I don't think Murphy can go more nasally than this. Annoying female backing vocals. He's going after everyone generalizing all Americans as scum. "Someone Great" was written about and actually the album dedicated to Bulgarian therapist Dr. George Kamen, a pioneer in group therapy, who had recently passed away and his methods were important to Mr. Murphy growing up. This song reminds me of The Talking Heads' movie "Stop Making Sense" in that instruments keep getting added with the momentum gaining. Reverbering, echoing keys to scratching to drums to outstated keys. Outstanding. "All My Friends" has a speedy train-like piano with rapid drums in the background maintaining the pace throughout the song. Murphy realizing he's at the end of his youthful party and where has all his friends gone. "US v Them" keeps the dance party going with more funk. Hey, a fun machine. Some think this is about a rival with a band, in particular, Hot Chip. Funny, I saw Hot Chip open for LCD on this tour. Everything seemed fine then. The last third of the album leans towards more straight-forward rock. "Watch the Tapes" is more new wave. I think about going through the work week in your twenties and waiting to party on the weekends. "Sound of Silver" starts with a cold bass line which transitions to synths and pianos. Is the Silver the silver of cassette tape? I would classify "New York, I Love You But You're Bringing Me Down" as a both a ballad and a love/hate song for NYC. Maybe, a symbol for alcohol as well. "Sound of Silver" is one of my favorite albums of the 2000's. It's rare you listen to album where songs are actually busy and also allowed to breathe, take shape and develop. The songs on this album are those. Absolutely no filler. I hear every one of these songs today on the radio stations and other media that I listen and pay attention to. Obviously, a very high recommendation.

"System of a Down" is the debut album by American heavy metal band System of a Down. The genre classification is nu metal and alternative metal but there also elements of thrash, punk and alternative rock. The lyrics are about politics, anti-war, genocide, religion and brainwashing. Yeah, everything here is in your face and aggressive. Rick Rubin was the producer. The cover is an anti-fascist poster from Nazi Germany with five fingers symbolizing the capability to both create and destroy. "Suite Pee" starts with fast guitar and goes right to thrash metal. As with most of these songs, it changes styles and ends in a sludgy, grungy way. It's criticizing the church and one of the members who is a pedophile...a comment on religious extremism. Way to start off soft. Their first single "Sugar" has an idiosyncratic guitar. They do their loud-soft-loud thing. Lead singer Serj Tankian screaming while there's a catchy chorus and somewhat of a groove. I think sharp criticism about society and reliance on drugs and mentions sugar and the Kombucha mushroom people. An eerie metal bass opens the other single "Spiders." Serj is actually singing. Compelling guitar. Very dramatic. "Mind" throws in the kitchen sink and if you had one song to showcase System of a Down, this would be it. There's Midfle Eastern guitar. It's slow then goes into thrash metal and punk. It ends weird. Something about the CIA, brainwashing and government control. The album ends with "P.L.U.C.K. (Politically Lying, Unholy, Cowardly Killers)". No ambiguity here as it's about the 1915 Armenian genocide by the Turkish government. All members of System of a Down have Armenian backgrounds. Reverb guitar. Thrash metal. Serj screaming. You get the point. This is a very busy album, actually chaotic at times. No doubt on purpose. Classified as nu metal (one of my least favorite styles) but there's so much more going on..thrash metal, punk, screaming. I can't decide if this album was brilliant or just was giving me a headache. I think both. Anyway, if you're into a hard rock and metal variety, this is right up your alley.

"Close to the Edge" is the fifth studio album by English progressive rock band Yes and progressive rock it surely is. The album contains three songs, two with fours parts in them. It was last album with drummer Bill Bruford who would leave for King Crimson. He was also the person who coined the album title for the tedious process and the state of the band while recording. Other band members included Jon Anderson (lead singer), Steve Howe (guitar), Chris Squire (bass) and Rick Wakeman (keyboards). This album was their biggest commercial success at the time reaching #4 (UK) and #3 (US). The album opens with the self title "Close to the Edge" which takes up the whole first side and has four parts. The song was inspired by "The Lord of the Rings" and composer Jean Sibelius' "Symphony No's 6 and 7" and is quite the prog journey. Part I : "The Solid Time of Change" starts with running water, wind chimes and birds and then goes into jazzy, proggy chaos. Complex everything-drums, guitar and bass. The vocals findly come in at the 4:00 mark. Part II: "Total Mass Retain" is faster pace and is highlighted by Squire's bass and Wakeman's pyschedelic organ. Part III: "I Get Up, I Get Down" slows things down. Wow! The "Soft Bulletin"-era Flaming Lips must have been in the room: a dead ringer for that album. And the song ends with Part IV: "Seasons of Man." Now this is the Yes I know. Excellent drums, bass and a fade out. "And You and I" begins side two and also has four parts. It is a folk-oriented song and a tale of the search for purity between two people. Part I: "Cord of Life" has acoustic guitar strumming and a melancholy feel. Part II: "Eclipse" is slower and a waltz. There's a mellotron, minimoog and steel pedal guitar. Part III: "The Preacher, The Teacher" is highlighted by the chunky bass of Chris Squire and almost a souful organ of Rick Wakeman. Part IV: "The Apocalypse" ends the song with more of a lullaby. The third and final song is "Siberian Khatru," a more straight-forward rock song. It's about dreams of a clear summer day. The title meaning "as you wish." There is a part of the song that made me think I was listening to a proggy Grateful Dead. More great Squire and Wakeman. The song kind of strangely ends with an orchestral background. This is quite the album. Prog music of the highest order and the best album that I've heard in that genre, by a mile. No wasted notes. Fantastic and extremely complex musicianship. Sometimes Aderson's high-pitched can irritate me. Not here. At times the music is just exhilarating and never, ever boring. A must listen.

"Smokers Delight" is the second studio album by the English band Nightmares on Wax. Nightmares on Wax is essentially DJ George Evelyn. The musical genres are classified as trip hop, techno and downtempo. Gathering more familiarity with these styles, I'd classify this as more trip hop. This is mostly an instrumental album with slight variations between songs. The album begins with "Nights Interlude." It's chill and dreamy and has jazzy keyboards and a slow beat. More of a funky bass is added to "Wait a Minute/Praying for a Jeepboat." "Groove It" throws in weird sounds and tribal drums. There'd be more tribal drums throughout the remainder of the album. A 60's pop melody with keyboards and horns highlight "Mission Venice." The chill melody remains in "Rise" and an orchestral sound and congo-type beat are added. "Gambia Via Vagator Beach" ends the album with a percussion heavy song. Overall, I always felt these ambient, chill type albums are good background music. It's repetitive with its loops. Slight variations in the beats and melodies keep things fairly interesting. If you're into the trip hop and downtempo style, you'll probably like this album.

"Crooked Rain, Crooked Rain" is the second album by American indie band Pavement. The album is noted as being more accessible than their debut "Slanted and Enchanted." I would say they're very equivalent. The music is also categorized as slacker inie and alt rock. I also heard elements of folk-country, jam band and at least one hard rock song. The themes are varied but several focus on the music industry with lyrics mentioning skateboards, plane crashes, girls and mocking The Stone Temple Pilots and Smashing Pumpkins. It's about time. The album had moderate succes. "Silence Kid" sounds like the band is setting up during rehearsals and then kicks into slow driving rock. The melody is brought in. Lead singer Stephen Malkmus with laid back vocals. I have no idea what this kid is about. Innocence? Drummer? Ecstasy? Interesting fact: Due an ink error, it appears as Slience Kit on the album cover. Ooh-ooh, ooh-ooh, ooh-ooh and we're off with one of the catchier 90's songs in "Cut Your Hair." A pop melody. A break going into a great brief guitar solo. Malkmus is sarcastically attacking the importance of image in the music industry. Speaking of great 90's songs, "Gold Soundz" continues the wealth of catchy melodies. Malkmus is actually singing and showing emotion. The song builds with tremendous overlaying guitars. I think well deserving of Pitchfork naming it the best song of the 90's. The band goes slacker country-folk in "Range Life" with the guitar. And of course dissing STP and The Pumpkins. The albums ends with one of my Pavement songs in "Fillmore Jive." At the time, I didn't know they had jam band and Neil Young "Cowgirl in the Sand" in them. This is more of what Malkmus would do in his solo career. The songs starts slow and then alternates lyric verses with extended guitar solos three times. It tells the story of partying individually at like a frat party and then partying in the music industry. I recommend all five Pavement albums to some extent. Some more than others. I'd put this one in the middle but it has just some outstanding songs, some of their best. An overrode of great melodies. Highly recommended.

"Harvest" is the fourth studio album by Canadian-America musician Neil Young. Young recruited a group of session musicians in Nashville where some of the recording was done and he nicknamed them The Stray Gators. The album itself is more folk and country-rock and is quoted as the pinnacle of West Coast Country Rock. At least three songs were written for and to Carrie Snodgress who is the mother of their son Zeke Young. The album was a big commercial success, hitting No. 1 in the US and UK and was the biggest selling album in 1972 in the US. "Out on the Weekend" begins the album with an acoustic guitar and Young's recognizable melancholy harmonica. It's a slow, country ballad and laid back. It's about a boy who can't relate to joy, reflecting on the past and a love song for Carrie. Another recognizable harmonica start to Young's only song to hit No. 1 in "Heart of Gold." James Taylor and Linda Ronstadt on backing vocals. Another song for Carrie. A great Young quote: "This song put me in the middle of the road. Traveling soon became a bore so I headed for the ditch. A rougher ride but I saw more interesting people ther." And that's where he would also write best music. Another big Young song "Old Man" opens Side 2. it was written for the caretaker of the ranch he bought and about young men having the same needs as old men. JT and Ronstadt again on backing vocals. I always liked the acoustic and slide guitars on this song. Young rehashes his acerbic feelings for the South in "Alabama." He would later regret the lyrics and had no issue (might have actually agreed) with Lynerd Skynerd's response in "Sweet Home Alabama." "The Needle and the Damage Done" was a lament for all the great artists addicted to heroin including Crazy Horse guitarist Danny Whitten who died. An emotional acoustic song recorded live in concert. And what would a 70's Neil Young album be without a song with long stoner guitar jams. And we have that here with album closer "Words (Between the Line of Ages)." Stephen Stills and Graham Nash are also on backing vocals. I admit to liking Young's subsequent 70's albums where's he in ditch better but this sounded great today. Although slight outliers, even the two songs where he uses the London Symphony Orchestra kept the laid back tone and observational lyrics. Even if you're not a country rock fan, an album worth listening if only for Neil Young.

"Electric Warrior" is the second studio album by English rock band T. Rex and their sixth since since their debut as Tyrannosaurus Rex. It was a turning point away from folk-oriented musuc to flamboyant, pop-friendly glam rock. The album is credited as kick starting the glam-rock craze in the UK and as the first glam-rock album. The lyrics went away from earlier fairy tale to more common rock & roll cliches. Tony Visconti of David Bowie fame was the producer. The album reached No. 1 on the UK charts and was the best selling album of 1971 in the UK. A chunky, grinding, scratchy guitar opens "Mambo Sun." Lead singer and guitarist Marc Bolan with his whispering singing. There is a groove laying a foundation for what I think of classic T. Rex. Maybe about a journey for a girl and/or to find beauty. A little change of pace with the excellent "Cosmic Dancer"... acoustic guitar and strings. Very dreamy and grandiose. Supposedly about reincarnation. What we do know is that Bolan came dancing out of the womb, he danced at 8, he danced at 12...he danced. The drum start and that guitar riff get "Jeepster" going. Another song with a great groove. He's a Jeepster (guy) going to go anywhere for his girl. Side B begins with the glam rock poster child and anthem in "Get It On ( Bang a Gong)." That classic guitar riff. Add a sax. Hey, Rick Wakeman on keyboard. No need to discuss a song meaning here. The album ends with one of the more interesting songs on the album in "Rip Off." This sounds very David Bowie. Also, very busy. It's rockin' and a sax and strings. And then ends in a jazzy fashion. Hmmm! This is a solid album. Visconti adds high-end production as he did on the subsequent and equally great album "The Slider." A glam rock and overall rock classic.

"Café Bleu" is the debut album by English band The Style Council. The Style Council consisted of Paul Weller (vocals, guitar, bass), Mick Talbot (keyboards, piano, organs, synths) and Steve White (drummer). There was also a lot of extra musicians on the album including members of Everything But The Girl. The music is classified as pop, jazz, soul, new wave and sophisti-pop with one critic nailing describing it as soul-tinged pop songs and other songs being too eclectic and over ambitious. I'd say, Weller tries to travel the word on the first side alone. The album was renamed "My Ever Changing Moods" when released in the US for the single of the same name. The first side is more of the jazzy album side and opens with an instrumental "Mick's Blessing." A pretty bare-bones jazzy song with piano, tambourine, hand clapping and a bass. By the way, about half these songs on the album are instrumental. Tracy Thorn of Everything But The Girl does a nice vocal job on "The Paris Match." Also, jazzy again with the piano and guitar. Missing a loved one and former boyfriend. Weller's soulful voice takes over on thr first single "My Ever Changing Mood." Piano dominated. Intriguing lyrics and about the threat of nuclear war and a relationship, I think. Side One also has a bossa nova and a jazzy bebop song. Side Two continues elelectism with the funky "Strength of Your Nature." This is trying to sound like an 80's R&B pop song and comes across like a blend of Oingo Boingo and Janet Jackson. A catchy chorus though. "You're the Best Thing" highlights Weller's soulful vocals again. He's crooning. Great backing vocals. Jazzy with percussion. It's the one song I immediately think of when The Style Council is mentioned. An instrumental "Council Meetin'" ends the album with a dane-pop beat. This album had me confused. The soulful-pop singles are fine. And then we have bossa nova, piano bar jazz, bebop, rap and attempted funk. When put together, it didn't really connect for me. It sold well in the UK and the pop songs are highlights so if you're willing to filter through some of the misses, you might like this.

"Winter in America" is a studio album by American vocalist Gil Scott-Heron and keyboardist Brian Jackson. This album was recorded in a stripped-down fashion relying on traditional African and R&B sounds with Jackson's piano-based arrangements rooted in jazz and blues. Yep. Scott-Heron's subject matter is mostly the African-American community in the 1970's inner city. Scott-Heron signed with record label Strata-East which gave artists and him authority and responsibility over recorded material. This album has had major influences on neo soul and hip hop and was eventually successful debuting at #6 on the Billboard Jazz Album Charts and selling over 300,000 copies. Scott-Heron utilizes both spoken word and bluesy, jazzy singing in "Peace Go With You, Brother (As-Salaam-Alaikum)." Jackson adds soulful piano and there is a dreamy feel. He's criticizing members of his own community. Jackson continues the bluesy piano on "The Rivers of My Fathers." Scott-Heron uses a water theme for feelings of home, freedom, faith and frustration. The second side begins with one of his most well-known songs in "The Bottle." A carribbean beat. Flute harmonies. A killer infectious groove. It's about alcohol abuse. A song that nearly didn't make the album is "H₂Ogate Blues." After hearing that the song was going to be omitted on the album, drummer Bob Adams objected and thankfully we have both a humorous and serious spoken-word song where Scott-Heron criticizes Richard Nixon, Spiro Agnew, Watergate and compares Chicago mayor Richard Daley to Al Kapone. Jazzy piano, flute and drums. The album comes full circle ending with a reprisal of the opening song in "Peace Go With You, Brother (Wa-Alaikum-Salaam)." Making his selfish brother think more about the world instead of his own little bubble. This is more of a laid back album than I was expecting. To me, it sounds to have more of an influence in neo soul. Scott-Heron vocals are great reminding me of Bill Withers. Always a good thing there. The lyrics are not quite as angry as his earlier work. A great album for all music fans especially ones of jazz, soul and blues.

"Otis Blue/Otis Redding Sings Soul" is the third studio album by American soul singer and songwriter Otis Redding. The album is mainly cover versions of contemporary R&B hits and also has three of his own written songs. It was released in the US on the Volt label, a subsidiary of Stax Records, and recorded in Memphis in a 24 hr-period (all but one song). The backing band was Booker T. & M.G.'s, Isaac Hayes on piano and the horn section featuring members of The Mar-Keys and The Memphis Horns. Well, with Otis as your vocalist, that's about as good a band as I've seen and heard. This album is considered Redding's first realized LP and the definitive soul album of its period. It was the first R&B album to the top the US charts and lso reached #6 in the UK. The album open with Redding's "Ole Man Trouble." Bluesy with the guitar and very horns forward. Redding'' voice just oozing soul. It's about a man unable to escape the brutality reality of the blues. Another Redding-written song which you might know from another artist is "Respect." It's uptempo and energetic. Redding's lyrics meant to gain respect from his wife after coming home from being on the road. Yeah, well, Aretha transformed it to a feminist anthem. Why did I just think of Matt "Guitar" Murphy? You know you're good when you can take a Sam Cooke song and make it comparable to the original and that's what Redding does with "Change Gonna Come." Very melancholic with the horns. The second side begins with another Cooke cover in "Shake." It's funkier. Redding is almost scatting. It's about club dancing in discotheques. I didn't know that word existed back then. Guitarist Steve Cropper rocks it out in the B.B. King cover "Rock Me Baby." With the horns and rhythm section, there's a great bluesy stomp. Redding covers The Stones' "Satisfaction" and some after hearing it thought The Stones had actually covered it from Redding. I like their replacement of the rhythm guitar with horns. A very good cover but, yeah, there's a band from Akron, OH who wear energy dome hats that might have my favorite cover. What a joy to listen to. Without question, Otis Redding is right near the top of the best ever male soul singers. An unbelievable band and an album worth its place in music history.

"Sheer Heart Attack" is the third studio by English rock band Queen. Musically and lyrically, Queen was digressing from the progressive themes of their first two albums becoming more pop-centric and conventional rock...."classic" Queen. Queen used four major studios to record and had to work around and with Brian May health issues. The album was excellently produced by Roy Thomas and is recognized as one of if not their best albums and an essential glam rock album. They go well beyond glam rock on this album. The album launched their world-wide popularity and made the US album top 20 hitting #12. "Brighton Park" begins with carnival noises and very high-pitched Freddie Mercury vocals. A Brian May-written song and he showcases his guitar ability with solos and delay effects. A hard, fast song about two lovers meeting on holiday in Brighton. "Kller Queen" was their first hit single and the first Queen song that I remember hearing. Fingers snapping, the piano comes in and Freddie mentions a marionette. No, Marie Antoinette, I now know. Actually about a high-class call girl. Brian May wrote "Now I'm Here" while in the hospital. A strumming guitar open which reminded me of a Pavement song "A Date With IKEA." It goes to a chaotic jam by the band. The classic guitar riff sounds a lot like The Nazareth riff in "Hair of the Dog" a year later. The song is about their previous tour with Mott the Hoople. A highlight of the second side and album is "Stone Cold Crazy." This is driving thrash metal. Taylor is playing punk drums. A favorite among heavy metal and rock fans and about gangsters and Al Capone. A second mention of Al Capone this week. The band goes ragtime in "Bring Back That Leroy Brown," an ode to the Jim Croce song. May playing ukulele and banjo, Deacon on upright bass and Taylor killing it with the kick drums. The albums ends with "In the Lap of the Gods..Revisted" which the band intended to be a song to sing along to and it was up until a song a few years later about champions. Very anthem-like and a great song to end with. This album is great...my favorite Queen. Beyond glam, there's elements of metal and hard rock. A lot of variety also with ragtime and the album does not seem overly ambitious like some of their work. The production and arrangements are excellent. Each member showing their talent and strengths. Excellent guitar work and effects by May. A classic.

"One Nation Under a Groove" is the 10th studio album by American funk band Funkadelic. The album was recorded in the studio in Detroit and also has one live song. The genres listed are funk, rock, R&B and black album with critics also citing influences of progressive rock, progressive soul, Jimi Hendrix and Sly Stone. I agree with all of it; it definitely has the funk going but there is a lot of other musical styles that you hear. This is a large band named the Funkadelic Main Invasion Source in the liner notes with each band area given its own name. For instance. The bassists are named the Bass Thumpasaurians. Oh, the fun they must have had. This album was Funkadelic's most commercially successful album reaching #1 on the Billboard Top R&B/Hip-Hop Hop Albums and is also criticality regarded as their best. Their biggest hit "One Nation Under a Groove" opens things up with hand clapping, 70's dance guitar and a funky bass. Multplie backing vocals reminding me of Talking Heads "Remain in Light." There's also a recurring James Brown-esque vocal. Needless to say, the funk is going on. "Groovallegiance" is a little slower with the rhthym. The backing vocals again shine. There's a killer guitar and organ jam towards the end. "Who Says a Funk Band Can't Play Rock" has some absolutely great guitar shredding. "Promentalshitbackwashpyschosis Enema Squad" is dreamy and stretches things out to 11 minutes. You know the recording was let's just say vibrant and enhanced as the line "Fried ice cream is a reality" is repeated several times. "Into You" adds more soul and I see the Sly reference. Raymond (Stingray) Davis steals the song with his bass vocals. "Cholly" ends the second side with its funkiest song. More guitar groove. There is a lot of musical styles going on but the funk is constant which holds this album together. This is a more cohesive album than the previous Funkadelic albums I've heard which are also very good. This is a great time and album and worth a listen if just for their big single.

"Future Days" is the fourth studio album by German experimental rock group Can. It was the last album with Japanese vocalist Dano Suzuki and found the band exploring a more atmospheric sound. Defintely relaxed. The genres listed are krautrock, ambient, electronic and progressive rock. They will also move around styles within the same song. The entire album is four songs. A spacey open begins "Future Days" with water noises which go to a slow beat. It's mellow. The vocals come in about 4:00. In all these songs, I have no idea what Suzuki's lyrics mean and his vocals are more of an instrument, sometimes very muddled. We have some interesting jazzy/rock guitar towards the end. "Spray" continues the laid back feel and you really start to notice the complex drumming and percussion. There's also some Eastern-style and more jamming guitar. "Moonshake" is actually more traditional rock with the beat. I knew these guys had it in them. Actually a pop groove. The song "Bel Air" takes up the entire second side. It's dreamy, ambient and has three to four distinctly different sections. The guitar and synth ambience goes to more jam style. Drums pick-up with a complex rock beat and this sounds really close to latter-day Radiohead. Later on there's vocals coming to the forefront and ends with with a high-pitched guitar and hypnotic beat. Even though this album doesn't seem to get as many accolades as their previous two albums, I've always like this one quite a bit. Never boring. It does sound like the future. Excellent, excellent musicianship especially the drumming. The influences are obvious with Radiohead and Stereolab. It's funny; the next song that came after the album ended was a Stereolab song and it sounded like it belonged on the album. An excellent album.

"Transformer" is the second studio album by American recirding artist Lou Reed. It was produced by Mick Ronson and David Bowie who helped promote it. Both Ronson and Bowie were also musicians in the band and some songs do very much sound like early 70's Bowie. Reed had written the songs while in The Velvet Underground and, I know, there's some versions of these songs if you search the VU discography catalogue. The album is considered an influential landmark in the glam rock genre. It also gave Reed commercial success and took him from cult status to international fame. "Vicious" was written at the request of Andy Warhol. When Reed asked Warhol about vicious, Warhol said "vicious, like getting hit with a flower." Sure enough that lyric appears in the song. A nice Velvet Underground guitar melody. Ronson on lead guitar gives a unique, scratchy, searing solo. A melancholy piano, guitar and a string arrangement by Ronson highlight "Perfect Day." About heroin and one of Reed's best songs. Speaking of Reed's best songs, side one ends with "Walk On the Wild Side." The classic bass line. The doo-doo-doos. Name another song you think of when you hear Polly. OK, Nirvana don't count. Sexual orientation, gender identity, prostitution, drug use. And it's 1972. Another Reed classic "Satellite of Love" was written as Reed observed a guy watching a satellite launch. About jealously. Great piano melody and backing vocals. "I'm So Free" is more rockin' and a good glam rock example. The album ends with "Good Night Ladies " I didn't know Reed had New Orleans ragtime in him. Horns. Jazzy. Whimsical. The title based on a T.S. Elliot poem and also a line from Shakespeare's Ophelia right before she dies. The highs on this album are super high from the Lou Reed cannon. The other songs are decent, maybe though, not at his Velvet Underground level. The influence of Bowie and Ronson are heard throughout. The album is very good and definitely worthy a listen if you haven't yet and a re-listen if you have.

"Foo Fighters" is the debut album by American rock band Foo Fighters. At this point the entire band was Dave Grohl who wrote and recorded the entire album by himself with producer Barrett Jones in Seattle. Grohl has stated it was recorded for fun, a cathartic experience to recover from the suicide of Kurt Cobain. Most of the songs had been written while Grohl was in Nirvana and those songs were recorded in 45 minutes per song due to studio time. They appear on the album in the order in which they were recorded in. He also has said that most of the lyrics were nonsensical at the time but, later stated , maybe they did mean something. Originally, Grohl had just 100 cassettes made which he gave away to friends. Word spread, Grohl was signed to Capitol Records and the album was successful becoming The Foo Fighters' second biggest selling album. Grohl kicks things off with three of the biggest Foo Fighter songs. "This Is A Call" gives you the soft-loud-soft dynamic that would be a FF signature (also Nirvana by the way). Grohl screaming. Great drumming. A hello and thank you to people who had a key role in his life. One of my favorite FF songs. "I'll Stick Around" starts hard and with layered guitars. This song reminds me of Nirvana with the hard parts and vocal chorus. "Big Me" is slower, melodic and love song to Grohl's then wife. Another FF fave for me. This album ends strong too. "For All the Cows" is for his love of punk music. A blues-jazzy start with Grohl actually singing. It then kicks in hard and, of course, goes back soft. The only other musician used, The Afghan Whigs' Greg Dulli, appears on "X-Static." Miltary-style drums and layered guitars. This is very Queens of the Stone Age-esque. Grohl doesn't mess around with "Wattershed". Hard and loud. No soft-loud-soft here. A good deeper FF song. The albums ends with "Exhausted." Melodic classic rock and then lots of feedback. Interesting. This is a good album. Their next album "The Colour and the Shape" is probably their best. Quite honestly, most of their albums after that are hit or miss throughout their length. It is also very impressive from the sheer one-man achievement. The variety of influences heard from Nirvana, Husker Du, 70's Country Rock, harcore punk, heavy metal and classic rock are clear. I also like the Buck Rogers' raygun on the cover.

"Ready to Die" is the debut album by American rapper The Notorius B.I.G (Biggie) and the only album released while he was alive. There were a host of producers including Sean "Puffy" Combs, Easy Mo Bee, Chuck Thompson, DJ Premier and Lord Finesse. The album was autobiographical following Biggie's experience as a young criminal and drug dealer. It was recorded in two stages with the first stage and album half dark and the second half more commercial. It was also attributed as revitalizing East Coast hip hop, a commercial success and critically acclaimed. City noises and sort of a string background begin the Puffy produced "Intro." A bunch of hip hop and soul samples including "Pusher Man." Gun Shots. Biggie saying he's out while an older guy says "you'll be back." Biggie starts the rap in "Things Done Change." High production. Scratching. Dramatic. About how his neighborhood has changed. "Gimme The Loot" continues the beat. Police. Gun fire. He's robbing, stealing, dealing drugs. Biggie stresses his sexual prowess in the album's third single "One More Chance." A sample of DeBarge's "Stay with Me." Hypnotic beat. Easy flow. Great rhyming. How can you not appreciate when he easily rhymes genius and penus. The big single "Juicy" has soul with the backing vocals and funky with the bass. It's a rags to riches story. "If you don't know, now you know." A great song. The second single "Big Poppa" has a laid back smooth groove and the melody reminds of the West Coast hip hop at that time. An Isley Brothers' sample. He's got the girls. He's smoking the chronic. "Throw your hands in the air if you're a true player." The album comes to a shocking end in "Suicidal Thoughts" as Biggie raps to a half asleep friend how he's a piece of shit, can't change and doesn't deserve to live. The music is dreamy. A gun shot ends the song. Unfortunately prophetic. Biggie's rhymes are just fantastic. His lyrics are clever, graphic and funny. You get the sense of excitement and paranoia with the story telling. The music is smooth, laid back and has a groove. As with the top hip hop albums at this time, the production is great. No doubt Biggie is up there with the top rappers of all time. A classic album.

"Mr. Tambourine Man" is the debut album by American rock band The Byrds. This album was influential in popularizing the folk rock subgenre and characterized by the jingly sound of Jim McGuinn's (later Roger)12-string Rickenbacker guitar and complex harmony vocals. The album contains mostly covers of folk songs ( Four by Bob Dylan alone) and originals written by McGuinn and rhythm guitarist and vocalist Gene Clark. Other band members included David Crosby (rhythm guitar/backing vocals), Chris Hillman (bass) and Michael Clarke (drums). It was recognized as the first effective Ameican challenge to The Beatles and British 60's Invasion and was an international success reaching #6 on the US Billboard LP chart and #7 in the UK. The classic guitar, bass and harmonizing open the Bob Dylan cover "Mr Tambourine Man." It was the first song recorded for the album and producer Terry Melcher did not think the band as a whole was ready to record so he had the famous LA session band The Wrecking Crew back McGuinn on his 12-string. It was the only song on the album where that happened. It reached #1 in both the US and UK. Gene Clark wrote and sung "I'll Feel A Whole Lot Better." Layers of guitars. A pounding tambourine. Criss-cross singing. Tom Petty covered. A tremendous deeper song is the Gene Clark written "Here Without You." A little darker. A mid-tempo ballad. More great harmonizing and the Rickenbacken guitar. A Bittersweet trip through the city reminding him of a former lover. "I Knew I'd Want You" contains a little less of the jingly guitar. It's slightly dark again. The first flush of romance. Another Clark song...sense a trend? Both McGuinn and Clark wrote "It's No Use." A more straight-forward rock beat. Pyschedelic guitar foreshadowing where The Byrds would go next. Jefferson Airplane were in the room. The album ends with a cover of 1939's WWII era "We'll Meet Again." Slower. Jingly guitars are back. It is an interesting start of trend for The Byrds where they would end their albums with an unusual song. The sound on this album is distinctive with the jingly guitar and harmonizing. Obviously influential in many future artists. I will say that the jingly guitar can get repetitive. The original songs written by Clark are outstanding and the highlight of the album for me. Gene Clark would leave the band before the next album was released. Fortunately, he went on to record some outstanding music and I will be seeing some of his solo albums and more Byrds upcoming.

The randomizer has kept me in the mid-60's Los Angeles, probably worse places to be. "If You Can Believe Your Eyes and Ears" is the debut album by the folk rock vocal group The Mamas and The Papas formed in LA and consisting of Americans John Phillips, Cass Elliot and Michelle Phillips and Canadian Denny Doherty. John Phillips was the group leader, arranger, musician and songwriter who adapted folk to the new beat style of 1960's with a sound based on group harmonies. As typical with albums at this time, five of the twelve songs are covers. The lyrics take a dark look at the sin and sleeze of the 60's LA culture with groovy and optimistic sounds. The album was their biggest commercial success reaching #1 on the US Billboard Album Chart. An interesting fact: there were five album covers created due to initial one with the controversial picture of a toilet. The Stones would take that toliet further a few years later adding graffiti. Their #1 hit "Monday, Monday" starts things off. The criss-cross vocals and harmonies. The baroque background with The Wrecking Crew as the backing band. Denny Doherty on lead vocals. Won the Grammy for best pop song. Well deserved. The fourth and final single released is the Bobby Freeman cover "Do You Wanna Dance," also covered by The Beach Boys. It's slower. Orchestral background again. A nice song. The first single released was "Go Where You Want to Go," based on a real-life story of Michelle Phillips having an affair with songwriter Russ Titelman. Michelle Phillips is the lead singer too. That's great. Fleetwood Mac taking copious notes. Side Two begins with one of the best harmonizing songs (may be the best) of all time in "California Dreamin.'" That Spanish-style guitar open. John Phillips wrote this song while in New York and longing for the California warmth. Michelle Phillips takes lead vocals on "Somebody Groovy." More 60's beat. It is pyschedelic and groovy. More criss-crissing vocals on "Hey Girl." He's warning the girl that the guy she's after is just trying to score. I'd be hard pressed to name better harmonizing vocals on an album. I was impressed with the darker lyrics of romance probably unique at that time in music. This is a really good album overall with not really a bad song on it.

"The Healer" is an album by American blues singer, songwriter and guitarist John Lee Hooker. Executive producer Mike Kappus conceived the idea of putting Hooker with guest musicians and on this album Hooker's collaborations are with Santana, Bonnie Raitt, Robert Cray, Canned Heat, Los Lobos, George Thorogood and Charlie Musselwhite. This album received critical and commercial success allowing the 73-year old Hooker to live the rest of life in financial comfort. And, it also won the Grammy for Best Traditional Blues Performance. The album starts off with the Santana collaboration "The Healer." A carribbean beat. The classic Carlos Santana guitar sound. Muddled Hooker vocals. It's smooth and sounds like something off of Santana similar album "Supernatural" a decade later. Get it? Sorry. Bonnie Raitt and John Lee redo his 1951 "I'm in the Mood." This is more classic blues. Great blues guitar. My favorite collaboration might be with Canned Heat, believe it or not, on "Cuttin.'" I love the Canned Heat harmonica mixed with the Hooker guitar. And great guitar that is. Another big highlight is with Los Lobos in "Think Twice Before You Go." The Los Lobos beat. You got the David Hidalgo accordion. More great searing guitars. Charlie Musselwhite's harmonica has "That's Alright" sounding like a slower version of "When the Levee Breaks." Always a good thing. The last three songs on the album are solo Hooker and more straight-forward blues. My favorite of these is the last song "No Substitute." A stomping beat. Acoustic blues guitar. Hooker reaching back for some soulful vocals...maybe his best on the album. All of these collaborations work really well creating a fusion of both artists involved yet fully in the blues genre. The thunderous Hooker vocals. His guitar is perfectly placed always there never completely dominating. Great production by Roy Rogers and a recommended album for all music fans.

"África Brasil" is the 14th studio album by Brazilian artist by Jorge Ben. It was a switch in his music with more electric guitar and incorporating Afro-Brazilian and American. Other artists including David Byrne and the Ambitious Lovers covered songs from this album. Rod Stewart lifted the melody from "Taj Mahal" for "Do Ya Think I'm Sexy" resulting in the royalties being donated to UNICEF. Good move. Ponta de lança africano (Umbabarauma) starts the album off with sort of a bluesy guitar. A funky beat. There's a groove going. Great backing vocals which are throughout this album. The song is about an African football player. "O Plebeu" is a reworked song. An easy groove and more great backing female vocals."Taj Mahal" is another reworked song. It has a dance beat and horns. It's quicker. Oh, yeah, the vocal chorus is "Do Ya Think I'm Sexy." A great, fun song. "Xica da Silva" is a little slower driven by percussion and drums. The melody reminded me of The Style Council. More great vocals. "Camisa 10 da Gávea" has a Caribbean rhythm. There's whistles. A great melody. This sounds like a number of David Byrne and Talking Heads' songs. This album was really an enjoyable listen. Jorge has a tremendous voice. It's easy to keep your head bobbing. The songs are mostly rhythm driven and funky at times. The guitar adds layers. Recommended for just about anyone.

"Too-Rye-Ay" is the second studio album by English pop band Dexys Midnight Runners. Band leader Kevin Rowland decided to add a violin section to the existing horn section. The horn section was not too happy but would record this album after which they would leave. Good thing...I kind of like the interplay between the two sections. They actually re-recorded a few of the songs with the new violin section. This was the band's most successful album and their song "Come on Eileen" hit #1 in both the UK and US. It would really be their only hit in the US. The violins open things up on their first single "The Celtic Soul Brothers (More Please)." It's fast pace. Violins carrying the melody. Enjoyable enough. He's watching others perform while getting ready to take the stage..a little stage fright. The band does a nice cover of Van Morrison's "Jackie Wilson Said (I'm in Heaven When You Smile)." The string and horn section are perfect for this song. The second side begins with "Plan B," an interesting song combining two songs. Actually, there are three parts to this song with a piano ballad and Rowland crooning, the pace picks up with the violins in the second part and ends with more a rock song and a prevalent bass. "Liars A to E" attacks music journalists. Piano, slower and soulful female backing vocals. The violin, the bass and we kick in with the album closer "Come on Eileen." Outstanding melody, beat and vocal chorus. Hey, a smile came to my face; it's been awhile since I heard this. He finds a childhood friend, Eileen, fully grown and well..."too-ra-loo-rye-ay." I am one of those Americans with "Come on Eileen" being my only exposure to Dexys Midnight Runners. This was a pretty solid album. I see that I have two other of their albums in this challenge. Given that this particular album is the least favorite of their leader Rowland, I'm looking forward to the other two. The album is still worth a listen.

"3 Feet High and Rising" is the debut album by Long Island, NY hip hop group De La Soul. The album title is based on a Johnny Cash song. The album was produced by Prince Paul with the music and lyrics trying to distance itself from the gansta rap very popular at the time. The music is put into the genres of art rap, progressive rap, jazz rap, pyschedelic hip hop and sampledelia and very influential in each of those. It has sample-heavy production with samples of funk, soul, doo-wop, pyschedelic rock and children's music and bizarre and surreal lyrics. Yeah, I had no idea what they were rapping about at times but it sounded good. The album was a critical and commercial success reaching #1 in the Billboard R&B Albums Chart and #24 in the Top 200. It was also added to The National Recording Registry in 2010 for its significance. The album begins with "Intro" which is essentially a comedic game show hip hop skit. This continues throughout in the background. De La Soul is credited with introducing the hip hop skit approach. "The Magic Number" is the first single. Just a drum beat and background noises and samples. The rapping sounds like it was done into a megaphone. The magic number is three like the number of members in De La Soul. "Eye Know" has some of the best sampling I've heard combining Steely Dan's "Peg" and the guitar and horns from a Mad Lads' song. An easy groove and a simple love and great song. "Plug Tunin'" was their debut single. You know you got the sampling down when you can combine James Brown, Liberace and The Invitations. I think they're commenting on hardcore rap. "Buddy" features the Jungle Brothers, Q-Tip from A Tribe Called Quest and Queen Latifah. Great samples of a Commodores' song and a 1981 Taana Gardner's disco song. Great rhyming. "Me Myself and I" is my favorite De La Soul song. A strong beat. It's funky, catchy. They lay heavy into the sampling of Funkadelic's "(Not Just) Knee Deep." The song reached #1 on the Billboard R&B Charts. The album ends with the same game show skit that it began with. I'm not sure which one of the four contestants won. There's no doubt that this is a great and influential album. Great rhyming and just outstanding sampling. It is long at 73 minutes and at times somewhat disjointed between songs. But, it is a very enjoyable listen and rightly placed in musical history.

"Songs The Lord Taught Us" is the debut album by America rock band The Cramps. Their genre styles are described as being garage rock, garage punk, pyschobilly and neo-rockabillly. Yep, it's all that. Some great descriptions of the band: "Campy, exaggerated and lewd" and "Pyschobilly way beyond the kitshiest moments of The Ramones and Blondie into a whole realm of garbage -trash novelty." The album was produced by Alex Chilton and recorded at Phillips Recording in Memphis. Some of the coolest band member names too: Lux Interior ( vocals), Poison Ivy Rorschach (guitar), Bryan Gregory (guitar) and Nick Knox drums). Loud guitar riffs and pounding drums open "TV Set." We get a fair bit of distorted guitar. Lux Interior's demented 50's style vocals stating "I see you on my tv set. I use your eyeballs for dials on my tv set." Their only single "Garbageman" has a grinding guitar and, oh my, a solid almost danceable beat. The guitar turns into more of a 50's rockabilly style. I think this about getting speed. As if this band needs more drugs. Lux whispers and howls on "I was a Teenage Werewolf." It's slower with a creepy guitar. The songs morphs into more a bluesy number. Jack White has to be a fan. "Zombie Dance" has a frantic pace with pounding drums and a sped up rockabilly guitar. Lux's vocals are muddled as he compares normal people in the world to zombies. The Cramps are known for doing interesting and campy cover versions. There's too really good ones here. They cover The Sonics' "Strychnine." Besides the rockabilly, you hear a lot of 60's garage rock in their music and no better song and band of that genre than this. This song was made for The zcramps and, yes, Lux would like the taste of "Strychnine." The album ends with the Little Willie John cover of "Fever." A slow, plodding, evil version. Lux talks, stumbles, whispers his way through deliriously. This album has a great pounding, driving sound. It's a mixture of 50's rockabilly, 60's garage rock and punk. Some creepy, oblique and unique guitar noises and solos. Not many albums cover topics of zombies, werewolves, eyeballs and poison. The production and lyrics are muddled; Alex Chilton wanted to re-record this but the band said no. Yeah, the last thing you want to do is over-produce something like this. The swampiness adds to its mystique.

"Electric Ladyland" is the third studio and final album from The Jimi Hendrix Experience. It was produced by Jimi and recorded in NYC and London. Due to his perfectionism, there were many takes on the songs but also added techniques such as backmasking, chorus effects, echo and flanging. The album mixed their pyschedelic pop with aggressive funk. The studio itself was very crowded during the recording which did not sit well with other members of The Experience, Mitch Mitchell and Noel Redding. Guest musicians included Steve Winwood and Jefferson Airplane's Jack Casady. Critics were confounded at first finding the album too dense but then many reconsidered it as their best. The album was also their most commercially successful peaking at #1 in the US and #6 in the UK. The album is a double album and begins with "...And the Gods Made Love " which is just pounding and an attempt at sounds of UFO's landing on Earth. A blasting guitar opens "Crosstown Traffic." A hard rock guitar riff and chorus. His love for traveling and women. Steve Winwood joins on organ for the 15 minute blues jam "Voodoo Chile." Chaotic drums and just incredible guitar especially at the end. A highlight of Side B is the cover of Earl King's "Come on (Part 1)." It's New Orleans' R&B and just crazy Hendrix guitar riffs. Side C has three songs not played very much on the radio but not to be passed over. "Rainy Day, Dream Away" is groovy, jazzy and bluesy. The nearly 14 minutes "1983...(A Merman I Should Turn to Be)" is the most pyschedelic song on the album. Marching band drums and a bass jam. The album ends with two of their biggest songs. The Bob Dylan cover "All Along the Watchtower" begins with that acoustic guitar and into the classic guitar riff. Their only top 40 song. "Voodoo Child (Slight Return)" is bluesy. The wah-wah intro. Then that guitar. I'd be hard pressed to find a more kick-ass guitar sound. What cannot you say about an album like this? Just incredible guitar and all the other instruments. It is long at 75 minutes but what and why do you cut. I like all three Hendrix albums so I wouldn't try to pick a favorite. They're all worth listening to and owning.

"Dirt" is the second album by American rock band Alice in Chains. The music genres are classified as grunge, heavy metal and alertnative metal. Yeah, this is defintely heavy. The subject matters are dark: drug addiction, war, death and bad relationships. According to guitarist and vocalist Jerry Cantrell the album is semi-conceptual with the two themes: one theme dealing with personal anguish and turmoil by turning to drugs which is not the answer and the other about painful relationships with people. Cantrell wrote most of the songs; Lead singer Layne Staley wrote a few songs as well. Other bands members included bassist Mike Starr and drummer Sean Kinney. The album is considered their best and very influential in blending the grunge and heavy metal music and crowds. It was also their most successful peaking at #6 on the US album charts. "Them Bones" opens with an aggressive guitar and rhythm. Cantrell's guitar goes heavy. Layered guitars which are common throughout the album. Staley's "Ahhhhh" and howl. Dealing with mortality and life. Everyone is going to die; you need to live. "Down the Hole" is the fifth of five singles released. A heavy metal acoustic guitar and slow beat open eventually to going an electric guitar riff. About his long time girlfriend and, well, it didn't go well. You know the prospects for an optimistic song are not good when the song opens with "They ain't found a way to kill me yet." "The Rooster" was written about Cantrell's father and the damage Vietnam caused him. A slow prodding guitar and bass. Eerie and yet souful backing vocals. The second half of the album tells sort of a drug-fueled story with a string of songs including "Junkhead" and "God Smack." Darkness continues. Layne Staley wrote "Angry Chair." Grungy, echoing guitar. Looming, desperate vocals going into the mind of a heroin addict. The album ends with "Would?" A lot of us remember this from the "Singles" soundtrack and, for me, at a bar I went to, being the unlisted song on the "Dirt" CD in their jukebox. It's a tribute to Mother Love Bone singer Andrew Wood. It's got a great rhythm groove and guitar. That rattle. Staley's tremendous, shaky and also thunderous vocals. One of my favorite songs of the 90"'s. This album is heavy, haunting and dark. The lead, layers and rhythm quitars are excellent. Staley and Cantrell co-lead and criss-cross vocals at times which really works. Yeah, I always thought of this as grunge but listening to now, the guitar is firmly in the heavy metal area. Whatever. A great album and one of the best in that early 90's grunge/ heavy metal category.

"Music in Exile" is the debut album by the West African Mali band Songhoy Blues. The band had to flee their home in northern Mali when radical Islamists (banning alcohol, music, cigarettes) overran the area to the southern cityand capital of Bamako. Following an audition, the band was introduced to producer Marc Antoine Moreau and the Yeah Yeah Yeah's Nick Zenner who ended up producing this album. A great description of their music is blending American guitar licks with Malian grooves. Desert blues, blues rock and Afro rock. Yeah, this does not fall in the world music genre. The band is composed of four members, Garba Touré, Aliou Touré, Oumar Touré and Nathanael Dembélé. They are not brothers believe it or not. The album received wide spread critical acclaim. A bluesy rhythm and lead guitar with a stomping beat begin "Soubour." Sung in their native language, I think. The music sounds a lot like Depeche Mode's "Personal Jesus." Oh, yeah...they pick up the beat in "Irganda." Less blues, more Afro rhythm and chanting. A good comp is Talikg Heads' "Fear of Music" era. A soft blues guitar background in "Sekou Oumarou." Great lead tenor vocals as well as backing vocals. Now the desert blues description makes perfect sense in "Nick." Just a killer bluesy groove. This song would not be out of place on an early 70's Stones, ZZ Top or John Lee Hooker album. The album ends with the song "Mali." An acoustic guitar strumming. Passionate singing about their home country. This is a very good album especially the first half. A dominant bluesy guitar and tremendous groove at times. Most of these songs would not sound out of place in the 70's and 80's American/British rock/blues scene.

"Blood on the Tracks" is the 15th studio album by American singer-songwriter Bob Dylan. This album was initially recorded at A&R Recording in NYC; Dylan decided to then re-record in Minnesota. Songs from each recording ended up on the album and are mostly acoustic. Many attrbute the lyrics to tensions in his personal life including estrangement from his then wife although Dylan maintains the songs to be inspired by Anton Chekhov short stories. Yes, most these songs are about relationships and appear very personal. Over time, many critics consider this best. It was also a commercial success reaching #1 in the US and #4 in the UK. The only single "Tangled Up In Blue" opens the album simply with acoustic guitar, bass and drums. It's about a relationship, maybe, his then-wife Sara. Classic Dylan. Just guitar, harmonica and bass on "Simple Twist of Fate" about a romance destined not work out. A melancholy guitar and more forward bass highlight "You're a Big Girl Now." Two lovers breaking up....a favorite of mine. "Lily, Rosemary and the Jack of Hearts" is the only kind of epic narrative ballad for Dylan on this album. The story involves a bank robber, a wife, a mistress ending in a of couple deaths. "Shelter from the Storm" tells the story of a guy trying to find salvation through love. Harmonica. Slow bass. Acoustic guitar. The album ends optimistically with "Buckets of Rain." Subdued. Happier. A slide guitar and a love song. This is a very focused album. Lyrically, Dylan may not have a better album as the words flow like poems. The music is simple yet to point. Not a weak track. I don't think I could pick a favorite Dylan but this is near the top.

"Moondance" is the third studio album by Northern Irish singer-songwriter Van Morrison. After the commercial failure of his previous album "Astral Weeks," Morrison moved to upstate New York where he met musicians, John Platonia (guitarist), Jack Schroer (saxophonist) and Jeff Labes (keyboardist), whom he recorded the album with in NYC. He also decided to abandon the abstract folk jazz of his previous album to more composed songs, which he wrote and produced by himself. The lyrical themes are focused on finding spiritual renewal and redemption through nature and romance. The album was both a critical and commercial success propelling him to a major artist in popular music. "And It Stoned" showcases Morrison's great, clean and soulful vocals. Piano, drums, acoustic guitar and just lovely sax. The lyrics were based on an experience he had fishing as a youth and stresses feeling joy from witnessing and experiencing nature. "Moondance" is more jazzy, straight-forward and less souful. A flute as lead instrument at times for Heaven's sake! Adult romance in the fall. The second single from the album was the ballad "Crazy Love." Van goes falsetto and sounds similar to Smokey Robinson and 60's Motown. A song Helen Ready covered and took to the top ten. A spiraling piano opens "Caravan." A bounce beat. Blue-eyed soul. More lovely sax and as lead instrument to. The transcendent power of music. Acoustic guitar and soft drums and we're "Into the Mystic." Lots of nature imagery. A wonderful song. The balance between the wonder of nature and the cosmic universe. The second side begins with "Come Running," the first released single. More R&B and upbeat with the piano and sax. Definitely the most pop song. "Brand New Day" was inspired by The Band and us a great deeper track. Slower piano. Alto sax. Van crooning. Female backing vocals giving this elements of soul, jazz and even blues. "Glad Tidings" ends the album with a bluesy beat and sounds like a Memphis Stax Records song. It's upbeat. Based on a letter Van got saying "Glad Tidings from London." The first side of this album is one of the best in music history. Van's forceful and soulful vocals. It's got Motown soul, blue eyed-soul, jazz, blues and pop. Interesting different instrumental leads and solos includi