"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 including sax and flute. For better or worse, it ushered in the popular softer rok of the 70's. Regardless, a true masterpiece.

"Enter the Wu-Tang (36 Chambers)" is the debut album by American hip hop group Wu-Tang Clan. Wu-Tang Clan was composed of a collective of rappers (nine on this album). This album was produced by member and de facto leader RZA. Due to a small budget, the studio was small, members had to fight for rap time and the cheap production outcome was a gritty sound all resulting in a landmark album. Harcore hip hop. East Coast hip hop. Alternative hip hop. Yep. The music was a collage of soul samples and clips from martial art films and lyrical themes included urban life, martial arts movies, comic books, drug use, violence and rap battles. The album was a critical and commercial success despite no pop radio or MTV play and was very influential for the renaissance of East Coast hip hop. It was put into the National Recording Registry in 2022 by the Library of Congress for its excellence and importance. The album begins with "Bring da Ruckus" and back and forth and in your face rapping by multiple rappers. A laid back groove. Various kung fu movie samples. An aggressive start. "Can It Be All Simple" samples Gladys Pipp. The hardships of growing up and wanting to live the life. Talking about all the Clan members. "Da Mystery of Chessboxin'" is worth the listen if just for its subject matter, chessboxin' which is playing chess, then boxing and back to chess. The competition continues until a knockout or a checkmate. Well, maybe back in the day that would have peaked my interest. "C.R.E.A.M." was the second single and uses great sampling from the Chamels "As Long as I Got You." The struggle of poverty and the desire to earn money. The first single "Protect Ya Neck" highlights their use of free associative rapping in essentially a battle rap. Another great soul sample in The J.B.'s "Grunt." "Tearz" has two stories going on. RZA describes his brother getting shot and Ghost Face Killah tells of a guy getting HIV. The melody is from Wendy Rene's "After Laughter (Comes Tears)." This album was loud, in your face and aggressive. The combination of all the rappers showcases their different personalities and styles. Many of these guys would have very successful solo careers. The sound is definitely gritty and I really liked the use of some pretty obscure soul songs in their sampling. A hip hop classic.

"Street Life" is a studio by American jazz band The Crusaders. It was their 12th album since becoming The Crusaders in 1970. The band itself started in 1960 in Houston, TX as The Jazz Crusaders with core members Joe Sample (piano), Wilson Felder (tenor sax) and Nesbert "Stix" Hooper (drums). The music is a fusion as jazz and funk and they used all of 19 musicians on this album. The album was successful reaching the top 20 in three Billboard charts - Black, Jazz and Pop. The 11-minute "Street Life" opens the album with a soft sax and piano. It's got all the elements of smooth jazz but the poppier R&B beat gives it a funkier edge. Female vocalist Randy Crawford adds the soul. This was the big song from the album hitting the Black, Club Play and Pop charts. It's was also used in movies "Jackie Brown" and "Sharkey's Machine" and the TV show "Better Call Saul." I fondly remember watching "Sharkey's Machine" on VHS tape. Burt Reynolds and Rachel Ward. "My Lady" continues the funk a bit with leading horns. Female vocals staying into the background. The remainder of the album is instrumental and continues in more in smooth jazz. "Rodeo Drive (High Steppin')" has keys, horns and is more bass forward. "Carnival of the Night" actually has a lead guitar. The last song "Night Faces" is the most jazz-oriented with horns leading the way. This album sometimes leaned hard in the soft jazz area but, especially on the first few songs, the rhythm kept it interesting with the funk. The sax and horns in general are outstanding. Towards the ends of the album, the songs were getting kind of repetitive. I do remember that Chuck Mangione song "Feels so Good" being a hit around that time and this album reminded me of that. If you are a fan of that song, you will probably like this album.

"Blood Sugar Sex Magik" is the fifth studio album by The Red Hot Chilli Peppers. This album was noted as having a different style than their previous album "Mother's Milk" with less heavy metal guitar riffs, funk and punk and having more melodic songwriting from guitarist John Frusciante. I will say that's true on their hits but they still bring the funk for the majority of the other songs. It was produced by Rick Rubin and have themes of sexual innuendos, lust, drugs and death. It was interestingly recorded in the mansion owned by Harry Houdini where they also lived. The album was a huge success selling over 13 million copies, propelling them to arena rock status and a seminal release in the alternative rock explosion of the 1990's. The album opens up with two funky songs. "The Power of Equality" has the groove going, singer Anthony Kiedis doing his rap-singing thing and a decent guitar solo (that happens throughout most of these songs). Racial equality, prejudice and sexism. "If You Have to Ask" was the fifth and final single. Kiedis whispering and stream of consciousness lyrics. The melody finally comes to the forefront in "Breaking the Girl." Acoustic guitar and interesting and strange percussion. All band members were involved and those instruments were from a garbage dump. It's Kiedis constantly shifting relationships and being left with nothing. The first song I remember from this album and their third single is "Suck My Kiss." A more aggressive and prominent bass. Kiedis strutting his stuff. A softer guitar is used in "I Could Have Lied" A subtle melody and one of the better guitar solos. Kiedis whispering and about a relationship he had Sinead O'Connor. A hidden gem on this album. "Give It Away" was the first single and was based on a conversation Kiedis had with Nina Hagen. Anytime I have the chance, I will mention Nina Hagen. Chaotic. The band jamming and setting into probably their best groove on the album. "Under The Bridge" is the song that sent them to that arena level. Kiedis writing about his drug addiction and low point. Frusciante tried to counter the sad lyrics with happier chords. Whatever they did, it worked. This album has probably the most popular Chilli Pepper songs that are pretty much rock radio staples. The songs are melodic but there is still very much a funk element throughout. Flea's bass is toned a lot relative to their other albums which was on purpose by the way. It is long at 73 minutes and they definitely could have trimmed it down but you can't argue with that 13 million number. For me, this is agood album ad probably their best along with "Californication."

"Clube da Esquina" is a double album by the Brazillian music collective Clube da Esquina and credited to Lô Borges and Milton Nascimento. It also features arrangements by Eumir Deodato and Wagner Tiso and conductions by Paulo Moura. The music is generically classified as baroque pop, folk and pyscychedelic pop but more specifically MPB (Música Popular Brasileira or Brazillian Pop Music) which is post- bossa nova combining jazz, rock with Brazillian samba, samba-canção and baião. Yes, this album incorporates many styles often within the same song. This album is extremely important in the history of Brazillian music. "Tudo Que Você Podia Ser" begins the album with an acoustic guitar. It's melodic pop with a hint of samba. Nascimento comes in with a clear, powerful, tenor voice. This would not sound out of place as a 70's country rock ballad. The drums are more prominent in "O Trem Azul." Both acoustic and electrical guitar. Vocal harmonization. A 60's pyschedelic pop feel. Beautiful sounding. "Cravo e Canela" has a Spanish acoustic guitar with subtle bossa nova beat. The soft-loud-soft dynamic. I immediately thought of Paul Simon. Maybe, when I next hear Paul Simon I will think of these guys. "Um Girassol Da Cor De Seu Cabelo" starts out slow and melancholy with its the piano and beat. The drums kick in with strings and we're in Beatles territory. The drum picks up the pace and now we're into something entirely different. An album highlight. "Clube da Esquina" is mostly instrumental with an urgent beat, subtle guitar and background vocals. The vocals are in the background and more part of the instrumentation. Wow, I feel like I'm placed in 80's/90's alternative rock. "Paisagem Da Janela" has a simple beat and sounds like a simple, happy and poppy 60's song. Nice harmonies. Alright, we got a Latin beat in "Me Deixa Em Paz." Tenor voices of Nascimento and Alaíde Costa reaching high octaves and also using falsettos. The bossa nova beat kicks in a little harder. Lô Borges takes over vocals on "Trem De Doido." Hey, this is rock and we're back to the 70's. Great drumming and a Carol's Santana-esque solo. This is a great album. I don't know if I've heard an album that switches styles within and between songs so flawlessly. When a song starts don't expect it to end there. The variety: baroque pop, samba beats, pyscychedelic pop, 70's rock and pop and 80's/90's alternative music. And then you add Nascimento's incredible tenor voice. Yeah. A album everyone should hear.

"S.F. Sorrow" is the fourth album by English rock band The Pretty Things. It is one of the first rock operas as it follows the main character, Sebastian F. Sorrow, from birth, and through love, war, tagedy, madness and disillusionment with old age. It is based on a short story by singer Phil May. The music styles noted are pyschedelic rock and pop and experimental rock. Yeah, their music sounded like a lot of other bands around that time. All pretty good ones. The album was poorly promoted especially in the US. In fact, many thought it copied The Who's rock opera "Tommy" although it was released before that album. Acoustic guitar and a sitar open up "S.F. Sorrow is Born." Pyschedelic pop as the vocals keep repeating S.F. Sorrow is born. Great vocals and harmonization throughout this album. Self explanatory by the title and he also starts working at a factory at a young age. S.F. goes into the infantry and war (WWI?) In "Private Sorrow." Guitar, flute, horns and marching drums. Spoken word also. The sounds of gunfire. Unfortunately, tragedy after the war hits in "Balloon Burning" as his girlfriend is flying to meet him in a balloon and, well, the title describes it. Psychedelic, grinding, repetitive guitar. An eerie feeling along with the vocals. More in the rock category. The album gets even a more little eerie and evil in "Baron Saturday." A pounding and driving song and a percussion jam. S.F. in a state of depression meets Baron and he goes through an underworld trip. An acoustic guitar similar to "Pinball Wizard" opens "Old Man Going." The song goes hard with the guitar. Sort of deep, vocals similar to "Aqualung." Our guy has essentially cut the world off. Not a happy ending in "Loneliest Person" as he identifies as the loneliest man in the world. Although, the music is Summer of Love-esque but sad. I enjoyed this album quite a bit. At times, they sounded like The Beatles, Queen, early Pink Floyd, The Who and The Moody Blues. Definitely, of its time. I would need to listen to more by The Pretty Things to get a better grasped of their identity. The layered vocals and harmonization itself make this album worth a listen.

"Lupe Fiasco's Food & Liquor" is the debut album by American rapper Lupe Fiasco. No less than eleven people produce including Jay-Z, Prolific, Soundtrack and The Neptunes. Categorized as hop hop and conscious hip hip, lyrics deal with poverty, Islam, terrorism, poverty and individuality. This is all done in an uplifting way. The album received four Grammy nominations winning one in Best Urban/Alternative Performance for "Daydreamin'." "Intro" starts in spoken word as Lupe's sister, I believe, describes the food (good) & liquor (bad) stores in Chicago. God. Islam. Strings goes to a beat. The second song "Real" adds backing vocals by Sarah Green as Lupe describes making music he doesn't have to be ashamed of. A nice sample of Harvey Mason's 1981 "How Does It Feel." Speaking of samples. The first single "Kick, Push" opens with a "Bolero Melody" sample by Celeste Legaspi. Heavy strings. Lupe's love for skateboarding and, in general, being criticized for doing what he loves. "Kick-Push-Kick-Coast." The second single "I Gotcha" has some great peppy piano, synth and production by The Neptunes. Describing himself and his rap style...Lupe's got cha. "Daydreamin" samples a cover "Daydream in Blue" by I Monster. A middle-eastern beat. Soulful. An adventure though the eye of a robot critiquing hip hop. An original, busy song. The originality continues in "American Terrorist." Jazzy. More Middle Eastern music. Matthew Santos guests and there's a Latin flair. Misconceptions of Islam in America and racism and gang culture. Lupe covers a lot of topics and it's done in more of a poppy and life affirming way. I think the use of strings and production give it that feel. Nice use of backing vocals and guests. Solid rapping. Definitely worth a listen.

"Reign in Blood" is the third studio album by American thrash metal band Slayer. The album was produced by Rick Rubin and Slayer and was a step up production wise from their previous two albums. The music straddles between thrash metal and hardcore punk and the album is considered a cornerstone in that thrash metal genre. The lyrics deal with death, religion, insanity and human experiments. Human experiments you say? Yeah, there was quite a bit of controversy with the release of the record based on the lyrics of the first song "Angel of Death" and its subject Nazi physician Joseph Mengele and the human experiments he did in the Auschwitz concentration camps. The band denied being Nazi sympathesizers but it followed the band throughout their career. This album received much critical acclaim and brought Slayer into the metal mainstream. A guitar assault, ridiculously fast drums, a guttural scream and we're off with the aforementioned "Angel of Death." The subject was already discussed and was told through the viewpoint of Mengele. The song has been used in various movies, tv shows and video games. The metal onslaught continues in "Piece by Piece." We're into blood, gore and cannibalism now. "Jesus Saves" actually starts out with a slower heavy metal guitar and beat. No worries, we're quickly into thrash. The foolishness of relying on religion to save you. Slower drums and a grinding guitar open "Criminally Insane." Like before we're quickly into thrash. A mind-blowing guitar solo. Drummer Dave Lombardo changing his beats throughout. Murderers taking lives and not caring cause they are....!!! And what better way to end an album then with "Raining Blood." Rain, guitar feedback, drum knocks and then into those classic dual guitar chords and the thrash. The song slows in spots and the speeds up. A banished soul from heaven awakens in purgatory and, well, he declares his plan for heaven at the end with a scream of "I shall reign in blood!!!" Musical chaos. Thunder. Silence. These songs are short and intense. Thr band gets right to the point. The album itself is short at 28 minutes. I think some heavy metal (as well as other genres) albums are way too long and bloated. Not here. The guitar and drumming are next level. The lyrics? Yeah, the music fits. A rock and metal classic.

Hey now! I remember getting the 8-Track of this when it came out along with everyone else. "Boston" is the debut album by American rock band Boston. Multi-instrumentalist and engineer Tom Scholz had composed these songs many years earlier. After peddling the songs around to no success, he eventually got signed to Epic. Scholz recordered the album in his Massachusetts' home as the other co-producer John Boylan played subterfuge and hid that fact from Epic who thought he was recording in LA. The genres include arena rok and pop rock. This album might be the poster child for them. A decent description is vocals inspired by The Left Banke, the guitar sound by The Kinks and Yardbirds and the balance of acoustic and electric guitar from classical music. Lots of layers too in the guitar and vocals. A massive commercial success becoming the fastest selling rock album of all time, selling over 20 million copies worldwide and all seven songs becoming classic rock staples. Boy, we all know that. Acoustic guitar, bass and drums begin " More Than A Feeling." That classic guitar riff, solo and vocals. Of couse, it's catchy. Soft-loud-soft. The chorus progression based on The Left Banke's "Walk Away Renee." Yeah, I hear that now. Daydreaming and a love affair. "Peace of Mind" continues the balance between acoustic and electric guitar. It's about Scholz's bosses at Polaroid and their indecisions. We got prog in "Foreplay/Long Time." Layered vocals, guitars and an organ. Starting to see a pattern here. Scholz throws some guitar noise effects in "Rock & Rock Band." Classic rock for sure. They go for more of a southern bluesy sound in "Smokin.'" An organ jam too. And the album ends with a ballad of sorts in "Let Me Take You Home Tonight." Country and soft rock heaven here. Nice acoustic layers and organ. No overblown solos. There is no doubt this album has excellent production with layered guitars and vocals, catchy choruses, well placed guitar solos and pace changes. These songs were extremely overplayed back in the 70's and 80's. I did enjoy this listen again but admit that by the sixth song it did get repetitive. I'm sure everyone has their own opinion on these songs and album. No need for a recommendation or not; I'm sure everyone has a position.

"Step in the Arena" is the second album by hip hop duo Gang Starr who are Houston-born record producer DJ Premier and Boston rapper Guru and, of course, they're based out of Brooklyn. DJ Premier is all over the place for a number of the hip hop albums I've done in this challenge. The genre is East Coast hip hop. Many accolades for the album including IGN naming it the best hip hop album of all time in 2007. Five singles were released from the album and the first one we come across is "Step in the Arena." It's a rap battle. Guru is a very smooth rapper; he kind of reminds me of a laid back Chuck D. The production of DJ Premier shines on "Who's Gonna Take Back Weight." The groove. Weird noises. Horns. Sound effects. And used in GTA IV. "Check the Technique" uses great sampling of Marlena Shaw's "California Soul" laying down the groove. Scratching. Great rhyming. My favorite song on the album. The third single "Lovesick" is a love song. We're off the rap battles and strutting for awhile. It's a little slower. The pace picks up in "Take a Rest." Guru is more forceful. Just a killer beat with the sampling of The Meteor's Funky Miracle." Every other rapper sucks. "Just to Get a Rep" tells a story of gang life and the need to shoot and kill and get a rep. More weird noises and scratching. This sounded a lot like Cypress Hill. This was a really smooth and good album. Great rhymes, samples and high production. Initially, these guys were thrown in the jazz rap category from a song they did for a Spike Lee movie. And, they do sound a little like De La Soul but they're their own. A solid recommendation.

Ah, a big one today. "Revolver" is the seventh studio album by The Beatles and the final recording prior to their retirement as live performers. It was the most overt use of studio technology at the time building on their previous album "Rubber Soul" which included double tracking, varispeed, reversed tapes, closed audio tracking and various unique instruments. One of the reasons for this was that they never intended to perform these songs live. It was the start of their pyschedelic period (lots of LSD apparently involved in the album), used Eastern Philosophy, espoused principles of the 60's counterculture and was avant garde addressing themes of death and transcendence of material concerns. A huge commercial success being #1 in the UK for six weeks and #1 for seven weeks. For the record, every song here deserves its own paragraph. 1,2,3,4, a cough and we're off with "Taxman." George Harrison's protest against marginal tax rates by top earners. Hmmm, don't know how that go over today in certain circles but was one of the first topical Beatle songs. An Indian style guitar solo. Believe it or not, the only single (and on Side A) was "Eleanor Rigby." A string octet and we're going baroque. The perils of loneliness. And Father MacKenzie. And on the single Side B, there's "Yellow Submarine." Ringo takes the lead but everyone is involved. Ocean sounds, chains, whistles, bells and a brass band. A sea voyage of friends and probably a blast to make. That great guitar opens "She Said She Said." Changes in time meter. Lennon wrote it based on acid trips with George, The Byrds and Peter Fonda who commented "I know what it's like to be dead." Hey, a fairly happy song in Paul's "Good Day Sunshine." Piano, piano solo. The long hot London summer of 1966. Paul turns the table of the melancholy "For No One." Pretty much a Paul solo song with Ringo. Piano, bass, clavichord. Also, french horns and the ending of Paul's relationship to Jane Ascher. A laugh, seagulls and the Beatles bring it to a glorious end in "Tomorrow Never Knows." Hypnotic drums. George on tambura and sitar. An Indian drone sound. Tape loops. Reversed guitar. Processed vocals. Pyschedelic to say the least as John wants mind expansion. Were they on acid as well here? No comment. A top five Beatle song for me. Without question one of the best albums of all time with brilliance in so many areas: songwriting, musical execution, studio technology, experimenting, futuristic, maturity and.....the only question here is whether you need to replace your current album version.

"Selling England by the Pound" is the fifth studio album by English progressive rock band Genesis. Genesis' label Charisma gave them extra time to write and record this album after the success of their previous album "Foxtrot" which they took advantage of. The album has themes of English folk culture and the increase of American influence. I have to be honest, I'd have tough time picking that up if I didn't read it: these songs can and do wander. The album reach #3 in the UK and #70 in the US. Peter Gabriel singing a capella opens "Dancing with the Moonlight Knight." This song goes in all sorts of different directions (well, we are in the prime prog time frame): piano to organ and guitar to a faster pace jazz to a 12-string guitar which sounds like a harp. It's a counter to the English press who thought they were trying to please the US audience. The only single was "I Know What I Like (In Your Wardrobe)." It was inspired by The Beatles and has a great chorus. The story of Jacob who wants the stay the way he is and doesn't want to strive for great things. One of my favorite Genesis' songs. The 9-minute "Firth of Filth" has a piano open, a Gabriel flute solo and interesting time signatures. Firth is a Scottish river. "The Battle of Epping Forest" was inspired by East London gangs fighting in Epping Forest. Opening marching drums and more flute. Tony Banks really shines on the keys and organ. The album continues with one more lengthy song in the 11-minute "The Cinema Show." It has two parts with the first one featuring a 12-string guitar, flute and oboe. It then transitions to a keyboard-guitar heavy song. Neil Peart has said he was a huge fan of this album and this last song part sounded like it belonged on Rush's "2112." This album sounded great. The music is technical and all the band musicians stand out at times. Sure, they could have cut some of this down but, what the heck, you're in 1973 and a prog band. If you're a prog music fan, you'll like this.

"Done by the Forces of Nature" is the second studio by the American hip hop band Jungle Brothers. The album was produced by Jungle Brothers, mixed by Kool DJ Red and is considered a golden age hip hop classic. It received rave reviews for its Afrocentric themes, clever lyrics, house-influence production and eclectic sampling of jazz, funk, R&B and African music. "Beyond This World" begins with what sounds like a sample of Grandmaster Flash's "White Lines." Hard beats, rhythmic and hypnotic rapping. Instead of fighting, I'm ordering ya to dance. "What U Waitin' 4?" is more dance-oriented. A groove. Scratchin.' Samples in the background. The pace picks even more on "Good Newz Comin.'" Great sampling with Donald Byrd's "Street Lady" and especially the percussion from Osibisa's "Ayiko Bia." "Tribe Vibes" has the groove and again a hypnotic beat. I really got into the Bee Gees' "You Should Be Dancing" sample. Why not? An album highlight is "Doin' Our Own Dang" with guest appearances from De La Soul, Queen Latifah and Q-Tip. Funky. Groovy. Multple rappers. This album has a lot going for it: hypnotic beats and rapping, great placement and selection of samples and the guest appearances. The production was of its 80's time; I don't if gritty is the right word but it wasn't over the top and created a mood. A solid hip hop album from its golden age period.

"Blue" is the fourth studio album by Canadian singer-songwriter Joni Mitchell. The album was written after her break-up with Graham Nash and during an intense relationship with James Taylor. It is confessional exploring various facets of relationships including love, break-ups, random ones and insecurity. The music itself is in the folk/folk-rock genre and has simple accompaniments, primarily piano and acoustic guitar. It is very highly regarded with many critics considering it one of the best albums of all time. The first song "All I Want" has James Taylor on acoustic guitar and interrestingly enough, is about Joni's relationship with him. You get a sense of her approach right away; nothing appears hidden. How they hurt each other, jealously and traveling. "Carey" is a happier song with some great backing vocals. Joni spent some time with hippie Carey on Crete and this is a song about that. I really got a sense of the brilliance of this album with "Blue." Another song about JT and his and their issues including heroin addiction. Piano-based and melancholy. "Blue, there is a song for you; I love you." "California" opens up side two. Acoustic. A travelogue. Joni's in Paris but longing for California and will they accept her back. "River" is her Graham Nash break-up song. Piano and emotional vocals. Beautiful imagery as she's using a river to skate away. Thought of as a Christmas song and ends with "Jingle Bells" notes. I don't know if there is a better break-up song and there's plenty of those. "A Case of You" is sort of a straight-forward love song. She's sitting in a Canadian bar thinking of someone. This is about as deeply personal an album as I've heard. Sort of stream of consciousness without a filter. Whereas she would tell stories with meanings hidden in the future, this is direct and to the point. The music plays perfectly to her lyrics. A great album worthy of it's high accolades.

"Blunderbluss" is the debut solo album by American musician Jack White. The album was written, recorded and produced by Jack at Third Man Studio in Nashville. He started the songs with musicians who became available at Third Man when RZA's recording was canceled. Jack used various production styles, an all male band and an all female band and recorded different versions of the songs. The musical styles are blues rock, folk, jazz and country soul. Lyrics deal with death, loss and collapsing relationships...lots on relationships. The album was mostly well received by critics. An piano and a jazzy beat starts off "Missing Pieces." Of couse, there's guitar. Interesting lyrics as he compares loss of body parts to the give and take of a relationship. No, we did not go totally away from The White Stripes as Jack crunches those chords in "Sixteen Salines." The struggles of a former lover. Hey, there's a weird drum pattern and Jack rapping in "21 Freedom." He's got kind of a 60's melodic guitar which goes harder. The first single. "Love Interuption" has an acoustic guitar, a wurlitzer electronic piano and great backing vocals. A mid-tempo soulful song. Violent acts of love as a form of self-discipline? Jack kind of lighten things up with his cover of "Shakin.'" He goes R&B and kind of groovy. The album ends with "Take Me With You When You Go." Funky, jazzy. Overlayered rhythm and lead guitars. This is a real good album; it's been a few years since I had listen to this. Probably, the way you want to go solo after a successful band: No garage rock, a lot of songs not guitar led or at least in combo with some other instruments and variety of styles. This is my favorite of his solo albums.

"Face to Face" is the fourth studio album by English rock band The Kinks. It was a shift from their hard-driving style of beat music to music drawing heavily from baroque pop and music hall and marked the start of The Kinks' golden age (1966-1971). The album is recognized as one of the first concept albums with a loose theme of social observation. It is entirely Ray Davies' compositions with observational and satirical lyrics commenting on English culture, social class and the music industry. The album was not a big commercial success however reaching #12 in UK and #135 in the US. A ringing phone marks the opening of "Party Line." Dave Davies on the lead vocals. This definitely is more in the 60's garage rock area. Paranoia and complaining about being on a phone line shared with multplie subscribers. Talk about anachronism. The Kinks show a darker side on "Rosy Won't You Please Come Home." Acoustic guitar. Prominent bass. It's about Ray's sister moving to Australia. "Dandy" has very much a Beatles-esque sound. Well, maybe The Beatles had very much a Kinks-esque sound. Screaming, edgy vocals by Ray Davies as he describes the neighborhood Casanova. The Kinks get bluesy, kind of Stonesy, in "Holiday in Waikiki." A chuck Berry homage and about the commercialization of Hawaii. Intriguing guitar sound. A cool drum solo interlude highlights "Little Miss Queen of Darkness." Another song about his sister who gave him a guitar: a tough ending for her though as she dies. Near the album end is their big single "Sunny Afternoon." Hey, here's the music hall. Piano. Melodica. Second consecutive week with a song about that damn mid-60's British progressive tax (Beatles' "Taxman"). This one is poking fun at those affected people though. I have to admit, this is my first listen to a Kinks' 60's album. By the end of this challenge, I'll be be quite familiar. This is a good album; songs clip in at two to three minutes. The music and lyrics have a darkness, edginess and sarcasm to them. I'm looking forward to more from their golden age.

"Paris 1919" is the third solo studio album by Welsh musician John Cale. The album was a shift in his more experimental music toward an orchestral-influenced style as with the contemporary pop rock. His band included Little Feat's Lowell George (guitars) and Richie Hayword (drums), The Crusaders' Wilton Felder (bass, sax) and the UCLA symphony orchestra. Lyrics explore various aspects of early 20th century Western European culture and history. The album title (and song) " Paris 1919" refers to Paris Peace Conference (Treaty of Versailles) which resulted in the partitioning of Europe and assignment of unilateral war reparations and contributed to the rise of the Third Reich. Piano begins "Child's Christmas in Wales," in both a happy and sad sounding pop song. A busy song. Great vocals. A droning guitar bridge. Based on a Dylan Thomas poem. The strings appear in "Hanky Panky Nohow." It's softer, slower. A chorus. I love the way there's no rush in this song. The modernization of life. The strings give a darker edge to "The Endless Pain of Fortune." Dramatic. It's about settlers in 1910 South Africa searching for diamonds and gold. The influence of Lowell George is really heard in the beautiful "Andalucia." The slide guitar. Hey, this is country rock. Cale's emotional delivery. Dire Straits had to be huge fans of John Cale. A person from Andalucia, Spain. A lover? Ominous strings begin "Paris 1919," the most baroque of these songs. Layered and urgent vocals and chorus. Is Cale comparing his life the disastrous results of The Treaty of Versailles? "Half Past France" slows it down a bit from the previous songs. Piano. Slide guitar. This sounds a lot like Brian Eno at that time. No surprise Cale and Eno worked together. The album ends with a soulful song in "Antartica Starts Here." Cale whispering the album to a close. This is a fantastic album. I was completely blown away. It's beautiful sounding with the strings. Great variety as each song changes styles slightly and is worth listening on their own. Pop, baroque, country rock, soul and glam rock. I'm always a sucker for songs with dual meanings and he does this here with the historical lyrics and comparing to his current personal situation or not maybe. I cannot recommend this album any higher.

"good kid, m.A.A.d. city" is second studio album and major label debut by American rapper Kendrick Lamar. It was recorded in California, Miami and Atlanta, used 15 different producers including Dr. Dre, Pharrell Williams and Just Blaze and had guest appearances from Drake, Dre, Jay Rock, MC Eint and Ann Wise . It is a concept album following Lamar's teenage experience in his native gang and drug infested Compton. The album received high critical acclaim and also had big commercial success hitting #2 in US and #16 in UK. Prayers, an eerie organ and whispering open "Sherane a.k.a Master's Splinter's Daughter." This transitions to "Bitch, Don't Kill my Vibe." Slower, laid back, smooth. Female baking vocals. Originally that was to be Lady Gaga but her parts were due to timing issues. She later released the original version of the song. Alright, we got bells and different beats in "Backseat Freestyle." Here's where you start to hear the brilliance of Lamar's lyrics as he juxtaposes an MLK speech with current rappers and their obsession with material things while he's riding in the backseat. "Poetic Justice" has Lamar and Drake rapping about partying, love and essentially you get what you put into it. In "Swimming Pools (Drank)" he describes the inherent alcoholism in his family and culture. Swirling music into kicking beats. "Sit up! Drank! Wake up! Drank! Pass out! Drank." The highlight of the album just may be the 12-minute epic "Sing About Me, I'm Dying of Thirst." It jazzy hinting at where he would go on future albums. Two separate stories, one involving a friend admiring his work, but could never do it and the other, a woman telling him off about a song on his first album about her sister and her lifestyles. Different samples including a Bill Withers' song. The music on the album is unique for the gansta category - laid back, chill and electronic. It reminds me a lot of 90's era Outkast. He's telling compelling stories using different rap voices and rappers. There's every indication here of the massive succes he would continue to have on future albums.

"The Boatman's Call" is the tenth studio album by Nick Cave and The Bad Seeds. The album is entirely piano based, somber and romantic, and a departure from their previous post-punk style. The lyrical themes are Nick Caves' personal relationships specifically with Viviane Carneiro, mother of Cave"s oldest son, and PJ Harvey, and yearning. Yep, he doesn't stray from those two subjects. The album received universal acclaim. I agree; this is quite an album. The heartbreaking mood is established in the opener and piano only "Into My Arms." A Love ballad probably about the two aforementioned women. He doesn't belive in the existence of angles or God's intervention but he believes in love. Drums and a volin are added to the piano in "People Ain't No Good." An incredible emotional vocal delivery by Cave. There's a spirituality that I hadn't heard up until "There is a Kingdom." A great chorus. I actually got chills listening to this. Cave delivers a much, gentler softer voice in the second single "(Are You) The One I've Been Waiting For." This one is about Vivian Cerneiro. "West Country Girl" is more in the traditional folk area with a prominent violin. It goes to a darker edge and back. No doubt about PJ here. A crooked smile and a heart-shaped face. An edginess to Cave's voice. The album ends with "Green Eyes," another one on PJ. Caves most unique song on the album with layered and repeating ocals, talking and singing. "Kiss me, Re-Kiss me, Kiss me Again." The mood is somber and melancholy and the stories are with not nice endings yet the feeling is one of spiritual hope. The music is perfect with Cave's deep voice and lyrical content. The album is beautiful sounding and emotional. Relgious imagery. This album reminds me a lot of 2019's "Ghosteen" with the heaviness and that's a good thing. High praises all around and another must listen from this week's randomizer.

"Dusty in Memphis" is the fifth studio album by English singer Dusty Springfield. The initial sessions were recorded in Memphis with a team of musicians including The Memphis Boys' Reggie Young (guitarist) and Tommy Cogbill (bassist) and backing vocalists The Sweet Inspirations. Final vocals and the orchestral parts were finished in NYC. There were apparently insecurity and stubborness issues with Dusty and the recordngs in Memphis. Three producers were used and the songs were written by LA and NYC-based writers Brill Building Sound which included Gerry Coffin, Carole King and Randy Newman among others. The intent was to mixed pop with southern soul. Initially, the album did not sell well but other artists (Elvis Presley) followed her lead to record similarily in Memphis. The album is considered one of the best albums of all time and was put into National Recording Registry for its significance by the Library of Congress in 2020. Dramatic strings open and carry the first song "Just a Little Lovin.'" Dusty's incredible voice and the backing vocals of The Sweet Inspirations. And what can you say about "Son of a Preacher Man." A song originally written for Aretha Franklin who later did a version. The piano, the drum kick, horns and that guitar lick. Surely, one of the best songs of the 60's and Dusty's most famous song. Piano, pyschedelic guitar, horns and drums lead the Gerry Coffin and Carole King song "Don't Forget About Me." A change of pace of sorts. The second side starts with two songs less reliant on the backing vocals. "Just One Smile" is strings, drums and more R&Bish. Congas and a spanish guitar.are added to "The Windmills of Your Mind." It's gentle with a bossa nova beat. The albums ends with another Coffin/King song in "I Can't Make it Alone." Piano, strings and a slow beat. A perfect way to end with the soulful backing vocals. It's hard to think of a better representation of the blue-eyed soul genre. Outstanding vocals and backing vocals and great arrangements. It's hard to imagine that because of the Memphis experience Dusty only pick two of the songs, "Just a Little Lovin'" and "Son of a Preacher Man," that she liked for the recording. Regardless, an all-time classic.

"Raw Like Sushi" is the debut album by Swedish musician Neneh Cherry. The album is noted for its distinctive and eclectic mix of genres and trends across pop music. Although, put in the hip hop, new jack swing and R&B categories. Neneh sings and raps and is accompanied by sets of sounds (that's for sure) including pianos, synthesizers, brass horns, guitar and percussions. The lyrics are based on her experience as a Mother and her education and upbringing. The songs were mostly written by Neneh and her husband Cameron McVey (Booga Bear). Neneh introduces the hi-hat and tambourine and we're off with "Buffalo Stance." She's rapping and then goes into pop. Very, very catchy and original song. Well-timed synth noises and melody lines. The title is based on the fashion stylist Ray Petri and the lyrics to stand up for your rights. The second single "Manchild" is slower, almost ballad territory. Beats. Scratching. Synths. Neneh composed this on a casino keyboard. The man needs to grow up. "Kisses on the Wind" has a very 80's dance-pop feel. A good use of blending and sampling of songs by Ralph Mc Donald and The Jimmy Caster Bunch. "Inna City Mamma" combines hip hop and jazzy piano. Nice singing. About growing up in the city. "Heart" uses turntables for the beats and scratching. A good example of the new jack swing style combining hip hop and R&B. Neneh is essentially a dual singer here either fighting over a guy and/or fighting her heart. There are a lot of positives to this album: the switching between rapping and swinging, variety of styles -hip hop, jazz, R&B, soul (fusion approach), unique, enjoyable pop-style music and Neneh singing voice sounding a lot like Madonna. It is very 80's pop sounding at times but, overall, a very enjoyable listen today.

"Bubble & Scrape" is the fourth album by American indie rock band Sebadoh. Sebadoh is a band composed of three members (Lou Barlow (Dinosaur Jr. fame), Eric Gaffney and Jason Lowenstein) who all each write, sing and are capable of playing all the rock band instruments. No division of labor here. So, on this album, all three members contribute songs which tend to sound unique to the writer. It was the first album recordered entirely profession in a studio away from their previous lo-fi homemade approach. Oh, there's still roughness to the edges here, though, as styles range from 60's garage to punk to grunge to power pop. Stoner rock too by the way. The album opens with Barlow's "Soul and Fire." Heavy, clear and melodic guitar. Sort of grungy. "Saying goodbye was never so much fun." A great 90's indie song. We get a sense of what Gaffney brings to the table in "Telecosmic Alchemy." Tinny drumming. 60's garage and punk. A chugging guitar. This is a combo of Sonic Youth and Mudhoney. And, Lowenstein gives us "Sister." Harder, dustorted guitar. Punk. Screaming. We've gone back to Hüsker Dü "New Day Rising." "Emma Gone Wild" brings some pyschedelia with a scratching-sounding and groovy guitar. The highlight might be Barlow's "Homemade." A song that builds slowly. A soft-loud-soft dynamic. A great guitar solo. A droning guitar puts this to me in the stoner rock genre. This is a sound that Chicago's Red Red Meat would use in a few years after that on two fantastic albums. The album ends with three songs from each of band members. Gaffney's "Bouquet for a Siren" is harder, has driving guitars and a faster beat. I'm hearing The Meat Puppets now (I name dropping way too much by the way). Barlow's "Think (Let Tomorrow Bee)" is the album's only acoustic song. A love song of sorts. The Swirlies' Sean Carmody on backing vocals. Finally, the band ends it with a bang in Lowenstein's "Flood." Screaming. Punk. 60's garage rock. "Yeah, get in the car. We're going to ride with the flood tonight. Sometimes this album comes off as a compilation album with the distinctive sounds of each songwriter. For me, it worked fine as a whole, probably, since I can't recall hearing influences of so many different bands all of which I like. If you're a fan of early Dinosaur Jr. (and who isn't?), you'll like this. Their next album "Bakesale" is also recommended.

"Teenager of the Year" is the second solo album by American musician and Pixies' frontman Frank Black (Black Francis). It was co-produced by former Pere Ubu member Eric Drew Feldman (also by Frank Black and Allstair Clay) who played keyboards. Other guest musicians included guitarists' Lyle Workman, Morris Tepper and the Pixies' Joey Santiago. This was not originally well-received but now is widely praised. Yeah, this is a good album. The album starts slow with a Pixies' sounding guitar and string sounds on "Whatver Happen to Pong?" It then kicks in hard with Frank screaming unintelligibly. I did pick up that he wanted to go back to a time before Donkey Kong. Lots of time travel talk on this album. "The Vanishing Spies" is slower, more pop. The sci-fi theme continues with disappearing Russian probes. Hey,we have a love song in "Speedy Maine." Very catchy. The only single was "Headache." Jingly guitar. Piano. A great vocal and backing vocal chorus. This sounds very latter-day Replacements. Actually, much better. There's a wrinkle in time and he's got a headache. Let's rock out with louder guitar and ferocious drumming in "Freedom Rock." Don't conform and especially don't give Frank advice at a record store. Hey, Van Halen showed up for the start in "The Hostess with the Mostest." Then, straight punk. About malls, of course. "Superabound" adds an organ, a groove and sounds like we're at a carnival. I don't know why but I was reminded of The Meat Puppets again (see yesterday). We need Joey Santiago Pixie surf guitar!!! We need...And we get it at the end in "Pure Denizen Of The Citizens Band" and "Pie in the Sky." "Photon power. Expanding border. Behold the pie in the sky." This was fun, fun, fun. 22 short songs. A variety of punk, Pixies, pop and rock. Nice melodies. Time travel and video games. What else do we need?

"The Stooges" is the debut album by American rock band The Stooges. The band (vocalist Iggy Pop, guitarist Ron Asheton, drummer Scott Asheton and bassist Dave Alexander) came to NYC to record with seven songs. Their record label Elektra told them they needed more so they wrote four more songs within a week. It was produced by John Cale who also played viola and piano. Cale initially did the mix but it was rejected by Elektra and then re-mixed by Iggy and Elektra president Jac Holzman. I remember a similar thing with David Bowie and The Stooges "Raw Power." What is it with rejecting mixes? On the positive side, I guess it led to multiple re-issues later on. This album was not initially liked by critics but now is considered a landmark proto-punk release. Yeah, this has the punk attitude for sure. The wah-wah guitar and Iggy's "Well alright" and we're off with "1969." The guitar was lifted from The Byrd's "Tribal Drumming" and the drums from Bo Diddly. Who cares? This song rocks. About boredom. A distorted guitar and piano begin "I Wanna Be Your Dog." Hypnotic bass and guitar. Punk. Heavy Metal. Well, Iggy will do just do about anything for...yeah that. The 10-minute long "We Fall" ends Side A and contains a good chunk of chanting and droning pyschedelic guitar. This had to be John Cale's doing. Side B begins with groovy guitar and "No Fun." The handclap becomes a primary instrument. It's no fun being alone. Wow, The Stooges go into ballad-mode on "Ann" all the way up until about a minute left and then Ron Asheton gives a chaotic guitar ending. Thank God; I was losing faith. Is this about a girl named Ann or their home town Ann Arbor, Michigan? I'll say both. The album ends with " Little Doll." Supposedly, it's about a girl they saw in the audience once. Definitely, the most unique drumming on the album. Nice grinding rhythm guitar and another chaotic and pyschedelic guitar finish. This has two essential rock and roll songs. Everything about this album is punk. The lyrics are minimal with very few complete sentences. Iggy's bored, looking for a good time and, of course, wants sex. Some fantastic guitar solos to finish songs. A classic.

"Tommy" is the fourth studio by English band The Who. It is a rock opera and a double album at that. Pete Townsend composed most of the songs and wanted something more than just three-minute pop/rock songs. It tells the story of Tommy who witnesses and is traumatized by a murder his father committed, is abused, is given LSD by a quack, plays pinball to feel, snaps out of his state and gathers a religious cult who eventually rejected him. Alright, simple enough. Townsend was inspired by Indian spiritual master Meher Baba in the writing. It was originally hailed by critics. It has been very successful selling 20 million copies and spawning a 1975 movie and a 1991 Broadway musical. The album opens dramatically with the mostly instrumental "Overture." Townsend on piano and accompanied by the instrumental Ensemble group The Assembled Multitude. Keith Moon's drumming a highlight (and throughout this album). The classic guitar riff you'd hear later on. Tommy's father is believed dead. Tommy's born in "It's a Boy." I always liked the vocals and backing vocals. "Amazing Journey" describes Tommy developing his mental state after witnessing the murder in the previous song, "1921." This is when you really start to hear The Who take off. Slow-fast-slow-fast. Pyschdelic sounds. Speaking of journeys, The Who take us on one in "Christmas" Great backing vocals. They go all over the place and introduce the thematic lyrics of "Tommy can you hear me" and "See me, feel me, touch me, heal me." Tommy does not recognize it's Christmas. Townsend takes the lead vocals on "The Acid Queen" as the quack and his parents give Tommy acid for the cure. The band then does a good job taking us through his mind with some extended dramatic jams continuing on in "Underture." Not quite prog but not entirely not prog. Shit, maybe I'm on acid. Side three gives us "Pinball Wizard." That acoustic guitar and electric guitar riff. Tommy plays a mean pinball with only his sense of smell. One of my favorite Who songs. Tommy finally gains some senses in "Go To the Mirror!" Another song of journey. Daultrey pleads him to "See me, feel me, touch me, heal me." Great melodies and the band breaks out in the glorious ending. The entire band sings in "Tommy Can You Hear Me?" Great harmonies. Tommy breaks his mirror and gains sensation in "Sensation. One of the more pop tunes on the album. Tommy becomes a rock star of sorts in "Sally Simpson." Sally becomes a follower even if they're worlds apart. "I'm Free" was one of the singles from this album. Some more great guitar combos and riffs by Townsend. Tommy's on the rise with his movement. Tommy's journey comes to a crashing end with his followers in "We're Not Going to Take it." The band combines everything here with the melodies, Moon's drumming, the harmonies and the recurring thematic lyrics and choruses. There is no doubt this quite an achievement. With no break between songs it comes off like one long song. There is some filler but the album moves at a decent pace for a double album. But, there're classic guitar riffs, lyrics, choruses and songs. Moon's drumming. The music builds drama. And, the band plays like tight band. For a historical perspective, check their performance out in "The Rolling Stones Rock and Roll Circus" where they performed on a break from the recording of the album. Mind blowing.

"(Pronounced 'Lĕh-'nérd 'Skin-'nérd)" is the debut album by American rock band Lynyrd Skynyrd. Southern rock, hard rock and blues rock. Yeah, and probably the first band I think of for southern rock. The band formed in 1964 and most of these album songs had been part of their live repertoire. The band rehearsed in a place called "Hell House" in their native Jacksonville, FL and by the time they got to the studio, producer Al Kooper stated "every note was immutable and absolutely no improvisation was allowed." Lynyrd Skynyrd was know for their guitar attack called "Three Guitar Army" consisting of Gary Rossington, Allen Collins and Ed King (also played bass). Other band members included Ronnie Van Zant (lead vocals), Billy Burns (drums) and Billy Powell (keyboards). "I Ain't the One" gets things going with that bluesy and almost grinding guitar approach. Prominent rhythm guitar by Rossington. A girl accused Van Zant of getting her pregnant but he ain't the one. "Tuesday's Gone" is almost baroque. It's melancholy for sure with the melltron strings and piano. Rossington, now on lead guitar, throws in some classic riffs. The lost of a love one. The first single was "Gimme Three Steps." The classic opening guitar riff with the rhythm guitar and drums kicking in. Based on a story in which Van Zant was dancing with another guy's girl in a bar when that guy walks in with a loaded gun and Van Zant asking for three steps before he starts shooting. The slow opening guitar chord progression begins another rock classic in "Simple Man." The chord progression speeds up for the main chorus. A great guitar solo. A deeper cut highlight on side two is "Poison Whiskey." The band shows its funky and bluesy side. Bass - great. Guitar solo -great. Piano solo - great. People drinking to forget. Even if you're album has sucked all the way up to the last song, if you're last song is "Free Bird," you might have corrected all wrongs. Still the most requested song at every show I go to. Profits in lighters mmediately went up. An organ, slow start. Those classic guitar chords. The song builds and builds until at the 5:00-minute mark, we get those ending layered guitar solos. This song never disappoints, still. This is a great album. A band and album that probably defined southern rock. It's bluesy, funky and great, great guitar. Some of the lyrics are deep and very progressive. About the only thing this album suffers from is that a lot of these songs still get way over-played is some of the establishments I may visit. Well, maybe that's my fault.

"Nowhere" is the debut album by British shoegaze band Ride. Shoegaze, neo-pyschedelia and noise pop all sound like good genres for this. Vocalists and guitarists Mark Gardener and Andy Bell met in school and formed the band. Other members include bassist Steve Queralt and drummer Loz Colbert. More to come on Colbert. The album was recorded live in studio and often late at night which the band found difficult and gave the album a sense of isolation. The album had a lot of critical acclaim and is cited as "one of shoegazing enduring moments." Guitar feedback and distortion and banging on a cymbal or something open "Seagull." The song then just takes off; right away you notice Colbert's drumming which is all over the place and reminiscent of Keth Moon (no accident there as Colbert was a big fan). The distortion and feedback remain and we're washed in a haze. The hope is lost on a relationship as he sees her far below. Melodic guitar gives "Kaleidoscope" a more pop feel. The drumming is still quick. The feeling of when a relationship is gone and looking back. "Polar Bear" has more distorted, wah-wah guitar and stays in a drone pattern. We're in shoegaze land now. The relationship won't work cause they're polar opposites. Tinny drums begin "Dreams Burn Down." The guitar builds the melody. The song goes hard and they got the slow-fast-slow dynamic going. The album ends with the first single and one of my favorite songs of the 90's in "Vapour Trail." A melodic guitar. About halfway through the song, it goes fully instrumental adding a cello and violin. I would argue that Colbert makes his drums the lead instrument. The song ends with just the strings. Fantastic. The is a really good album, so many positives. Very atmospheric with the distorted and droning guitars. Melodies hidden with the guitar haze. At times, absolutely beautiful sounding. The music fits the lyrics which are mostly about bad or ending relationships. One of my favorite 90's albums.

"Before and After Science" is the fifth solo studio album by British musician Brian Eno. Art rock, art pop and experimental pop. Yep. Eno collaborated with a bunch of musicians from the UK and Germany (Fred Frith-Henry Cow, Phil Manzanera-Roxy Music, Phil Collins, Paul Rudoplh-Hawkwind and members from Can, Soft Machine, Fairport Convention, Free and Cluster). Eno wrote over 100 songs for the album in a two year period settling on ten. The album is noted for its pop and rock side one and ambient and pastoral side two. It was his last foray into rock as a solo artist in the 70's as that ambient side two took over. "No One Receiving" begins the album with guitar; it's funky with great percussion and polyrhythmns by none other than Phil Collins. I can see the direction Eno would direct The Talking Heads in the next few years. Isolation. Space travel. Technology. "Backwater is more upbeat. Danceable. Horns. Eno rapping to an extent. The highlightlight of "Kurt's Rejoiner" is the analogue delay bass used by Hawkwind's Paul Rudolph. Synthesizers. Mystery. Intrigue. The only single and really rock song is "King's Lead Hat." It's an anagram for Talking Heads. Look that up. An ode to new wave. Cool synth. I think science vs.non-science and nature vs. Science. "Here He Comes" kicks off the ambient side. This is softer, slower and pop. It's has nice vocals. About a boy floating thought the sky trying to get to a different time. "Spider and I" ends the album in a dreamy, atmospheric and very ambient way. Church organs. Another song about a boy and the sky. This time he's dreaming about being carried away by a ship. I liked this album quite a bit, both sides. The polyrhythmnns, the creativity, the atmosphere. The music fits the lyrics with the first rock and pop side towards understanding science (before) and the second ambient side towards going away from science (after). I'd say this is my favorite Eno album but I like his first three albums as well. All worth a listen and owning.

"D" is the fourth full length studio album by Texas band White Denim. The album genres listed are indie rock, garage rock, progressive rock, pyschedelic rock and Southern rock. Yeah, sometimes all within the same song. The band increased from three to four members and was able to use a more sophisticated studio from their previous lo-fi approach. The album received wide-spread critical acclaim. "It's Him!" starts out with a fast pace with the drumming and swirling vocals. The start-stop approach. They got Grateful Dead guitar and they also threw in some pyschedelic, 60's and Southern rock. "At the Farm" is even faster and a great Allman Brothers-ish guitar jam. "Street Joy" slows things down with acoustic guitar. It's dreamy. They're in My Morning Jacket territory now. "River to Consider" adds a flute and congas. It's a Caribbean-jam band fusion. A trippy ending. The band continues the pyschedelia on "Drug" and why wouldn't they. For most of these songs, I had no idea what the lyrics meant. I do on this song and maybe that's what all the other songs were about too. The album ends with "Keys." A country-guitar jam with a plodding bass and a viola. This one is interesting. This album was alright. I'm honestly struggling to find it an essential 1,001 album. The band is technically very sound especially the drumming. They change tempos and styles. At times, they sounded like Phish, The Grateful Dead, The Doors, The Allman Brothers and My Morning Jacket. And add in pyschedelia, prog and country rock. I think that's my problem; what's their identity? But, if you re a fan of anything listed above, you might like this.

"In a Silent Way" is a studio album by American trumpeter, composer and bandleader Miles Davis. It was recordered in one NYC studio session with producer Ted Macero and marked the beginning of Davis' electric period. Tge album was his first fusion record (jazz and rock) which initially arose controversy with some critics questioning his experimental music structure. Retrospectively, many consider it among his best works. His band was former members and members he added as the music was developing and included Wayne Shorter (soprano sax), Dave Holland (bass), Chick Correa (electric piano), Tony Williams (drums), Herbie Hancock (electric piano), Josef Zawinul (organ, piano) and John McLaughlin (guitar). The album is two songs with three parts each, thought of as a exposition, development and recapitulation structure. The side one song is "Shhh"/"Peaceful." The first "Shhh" starts out with a droning organ transitioning to drums. Keys, organ and a pyschedelic guitar. The trumpet comes in and we're off. The second part "Peaceful" has more emphasis on trumpet and sax. A faster pace with the drums and experimental piano. The last part "Shhh" ends it with a Kaleidoscope of piano and organ. Side two is "In a Silent Way"/"It's About That Time." "In a Silent Way" is slower, gentler with keys and soulful horns. The percussions kick up "It's About That Time" and I'm hearing a Carribean/rhumba beat of sorts. Soulful organ this time. A noticeable bass starts and, ok, here's that rock beat. The last part "In a Silent Way" closes the album out slower and somewhat melancholy. I am no way a historical or jazz/rock expert to join in any conversation in the rock/fusion controversy. I do know that I really enjoyed this album. Expert musicians showing their talents and taking turns on lead. My favorite jazz albums are when I hear that. The album is smooth and flows nicely with that song structure. I would expect most jazz fans to like this album quite a bit.

"Hot Fuss" is the debut studio album by the Las Vegas-based rock band The Killers. New wave, post-punk, alternative rock, revival and synth pop are the named genres. Yeah, I'll go with all those after a deeper listen. The album received generally positive reviews. It was a huge success hitting #7 in the US and #1 in the UK and four hit singles. The album starts off with "Jenny Was a Friend of Mine," the third part of their murder trilogy. Swirling helicopter sounds into a dramatic opening. The bass stands out. The boy is taken in for questioning on the murder of Jenny. Guitar keys open their big one "Mr. Brightside." The band kicks in. Catchy song. Catchy music. Hello rock arenas from here on out. Jealously and paranoia, as lead singer/ keyboardist Brandon Flowers tells the true story of walking into a Vegas bar as his girlfriend is with there with another guy. Well, most of us have been there. Keyboards open the fourth and final single "Smile Like You Mean It." Another song where the music kicks in shortly after the intro. Great keyboard chorus and guitar solo bridge. Coming to terms with growing up and getting older. Another catchy lyrical chorus in "Somebody Told Me." "Boyfriend who looks like a girlfriend" and rhyming confidential and potential. Flowers wrote "All the Things That I've Done" after talking with TV host Matt Pinfield and his work with PTSD/wounded soldiers from the IRAQ War. It's slower. Piano. Organ. The Sweet Inspirations on backing vocals giving it a soulful feel. I think I've mention The Sweet Inspirations along with The Wrecking Crew the most in this challenge. A deeper cut that's pretty good and one you really hear The Smiths' guitar influence is "Believe Me Natalie." Idiosyncratic drums and apparently about a women with aids. The most rocking song on the album is "Midnight Show," the second part of the murder trilogy where he kills and dumps Jenny. Dramatic keys and eerie guitar. I admit to getting this album when it first came out; I liked "Mr. Brightside." This sounded good today as well. I maybe came in looking for something to dislike but really didn't find anything major. You hear The 80's, The Smiths and Joy Division influences. They do a great cover of "Shadowplay," by the way. Solid melodies. Catchy choruses and singalong lyrics. Dramatic, not quite edgy. The first five songs are alt-music radio staples. A great, professional live band. One of the albums I don't need to recommend or not since I know everyone has a position on their music at this point.

"Vanishing Point" is the fifth studio album by Scottish rock band Primal Scream. The album inspiration was from the genres of dub, dance music and krautrock and the bands Can, Motörhead and The Stooges. I'd also toss "Twitch"-era Ministry too. It was the first album with Stone Roses' bassist Gary "Mani" Mounfield and had guest appearances from Augustus Pablo, Glen Matlock and The Memphis Horns. Lead Singer Bobby Gillespie described the album as an anarcho-syndicast speedfreak road-movie record. Woah! It was named after the 1971 film of the same name and reached #2 on the UK charts. "Burning Wheel" starts with water drips. Wind and high pitch noises. A beat kicks in as does a pyschedelic guitar. Krautrock and Can ✔️. Repetitive guitar and eerie noises. Hmmmm. A guy introduces radio hero Kowalski on the first single "Kowalski." Space sounds and rapping. The drum sample is from Can's "Hallelujah" and the bass line sample is from Funkadelic's "Get Off Your Ass." The intent was an alternate soundtrack to the "Vanishing Point" movie. It does sound like movie music. The second single was "Star" and we're kind of back to a more pop song. Gillespie is actually singing. There's a melodica and The Memphis Horns. A slow beat and a tambourine. A good song. Hey, hey, a wah-wah groovy guitar in the instrumental "If They Move, Kill 'Em." OK, we can check the Stooges with the wah-wah guitar. A dance beat and some very irritating high-pitched noises. The band covers Motörhead in the song"Motörhead." Gillespie sings through a Darth Vader mask in the first verse. Drum machine. Random noises. The vocal mix is really low. This cover is almost unrecognizable from the original. The band goes back to krautrock in "Trainspotting." Carribean and spy guitar. The beat and percussion are bossa nova-like. And, a kaleidoscope of random noises layered on top. This is interesting, trippy and creepy (at times). I'm not sure it works as a cohesive album with soundtrack songs, krautrock songs and standard rock/pop songs compiled together. Although, they were several years ahead of Radiohead's "Kid A" as some of these songs are also in the deconstructed, minimal melody area. I give the band an "A" for effort in originality. If you're already a Primal Scream or krautrock fan, they'll be songs you like here.

"The Holy Bible" is the third studio album by the Welsh alternative rock band Manic Street Preachers. The band felt their first two albums were too hard rock-based and went back to Magazine, Wire, Gang of Four, Joy Division and Siouxsie and the Banshees for inspiration. I did hear that angular Gang of Four guitar on several songs. The album was recorded while lyricist/rhythm guitarist Richey Edwards was dealing with severe depression, self-harm and anorexia. It would be their last album released before Edward's disappearance (he was presumed dead in 2008). In general terms, the theme and lyrics deal with politics and human suffering. Although not considered a commercial success at the time, it did hit #6 on the UK charts. The album did receive widespread critical acclaim and NME also ranked it #1 on the Darkest Albums Ever List. Dialogue from a 1993 prostitution documentary open up "Yes." An easy, post-punk guitar comes shortly after, the band kicks in and the songs rocks from then on. A pop feel. Catchy guitar riff. The lyrics about prostitution and probably selling yourself out. The third and final single "She Is Suffering" is slower, darker. The soft-loud-soft dynamic. Lead singer James Dean Bradfield screaming; he does that throughout this album. The "She" is desire. The second single "Revol" begins with eerie guitar then like most of these songs kicks in hard. This is more hard rock and guitar forward. Dramatic. Great vocal chorus. The lead single "Faster" has layered guitars and catchy vocal and guitar choruses again and is almost danceable. About self abuse. "This is Yesterday" is slower and another song with a great guitar melody. A dark Cure bass line opens the album closer "PCP." This is fast, sped up. I'd almost say power pop and not far off from 80's metal pop. Commenting on political correctiveness and hypocrisy. Yes, if you dig deep enough you will find very dark lyrics but Bradford delivers the lyrics in such a sped-up, screaming fashion, they come across as more energetic. The music rocks: totally post-punk, catchy, melodic. This is a great sounding album.

"Led Zeppelin" is the debut album by English rock band Led Zeppelin. The band was formed after the break-up of the Yardbirds and Jimmy Page formed the band to fulfill their remaining contract. The album recordings took place before Led Zeppelin was signed and Page fronted the money. He also produced the album. The album is a mixed of originals and remakes of blues and folk songs. The music itself is fusion of blues and rock. Believe it or not, the album initially received poor reviews but now is widely considered one of their best and an influential to the start to hard rock and heavy metal. It was a commercial success reaching the top ten in the UK and US charts. The debut single "Good Tmes, Bad Tmes" kicks things off. The guitar riff, bass drop and drumming. A catchy vocal chorus. Lead singer Robert Plant showcases his strong voice in the Anne Bredon cover "Babe I'm Gonna Leave You." The start, stop, start. The bass, the eerie guitar with echo, Robert Plant screaming "Soul of a woman was created below and John Bonham's drum start their classic "Dazed and Confused." This is actually a cover of sorts from a 1967 Jack Holmes' song. This drifts to the pyschedelic side and Page throws in using a violin bow. A showcase for all the members' talents and one of their best. John Paul Jones" organ opens "Your Time is Going to Come" and continues to be the highlight of the song. Another great vocal chorus. Jimmy Page's guitar riff rips through "Communication Breakdown." Bonhams' drums. This song totally rocks and is considered one of the first "heavy metal" songs." I always considered this their bluesy album (II has a lot of blues too). The album highlights the immense talent of each member and a good example of the sum being better than its parts (yeah, I know, overused cliché). I always give all Zeppelin albums at least an annual spin. I would put this in the #4 or #5 spot along with III in my Led Zeppelin album list.

"From Elvis in Memphis" is the tenth studio album by American rock and roll singer Elvis Presley. The album was recorded in Memphis following the success of Presley's TV show and soundtrack and it marked his return to non-soundtrack albums after his MGM film contract completion. Presley was convinced to incorporate a Memphis sound (soul, country, gospel and blues). Backed by the Memphis Boys, the music is heavier on the rhythm section and less so from strings and horns. The album reached #1 in the UK and #13 in the US. Elvis comes roaring right off the bat in "Wearin' That Loved On Look" accusing a woman of cheatin' on him. Electric bass lead. Organ. Piano. Blues, soul and rockin.' "Long Black Limousine" slows is it down into more of the soulful ballad area. Elvis was fighting a cold and he sounds weary which adds to the tone. A country-western song "Movin' On" is turned into a more driving song with bass and drums. A moving guitar solo. "Your true-lovin' daddy ain't comin' back." The second side rolls out the blues and harmonica with "Power of My Love." A brass section, drums, guitar and organ. Presley does go back to the 50's sound in "After Loving You." Elvis on guitar and the groove sounding a lot like Fats Domino. The album ends with the Mac Davis song "In The Ghetto." A controversial song for Elvis as the lyrics deal with poverty and inner city youth. Elvis whispering than going loud and back soft. A absolute Elvis song highlight for me. Speaking of Elvis song highlights, two songs recorded during these sessions but not making the initial album cut (on later compilations) were "Suspicious Minds" and "Kentucky Rain." "Suspicious Minds" did not make it for copyright issues and I have no idea why "Kentucy Rain" did not. Elvis is aggressive and obviously reinvigorated on this album. The variety is here with blues, country and soul and combining all three. The band is strong. A must listen for everyone.

"American Idiot" is the seventh studio album by American rock band Green Day. After the master tapes of their upcoming album "Cigarettes and Valentins" got stolen, the band decided to start over and rewrite another album since they weren't really impressed with the result of the finished album. They landed on a concept album of sorts, a "punk-rock opera." The main character Jesus of Suburbia is the lower-middle class anti-hero from suburbia who decides to escape to the city. The song themes tend to go into the dissolution and dissent of a generation that came of age with 9/11 and the Iraq War. It also takes aim at giant corporations and George W. Bush. The album was a big success reaching #1 in the US and UK and winning the 2005 Grammy for Best Rock Album. The guitar right into their punk-pop rhythm opens "American Idiot." It's melodic. Great drumming by Tré Cool. Leader singer Billie Joe Armstrong going after the mass media (cable news) and their orchestrated paranoia and idiocy among the public. "Jesus of Suburbia" starts the story of our anti-hero. It's broken into five parts, each with a different melody. There's a ballad in there, a bass-heavy song and ends with the most rockin' song. Maybe, my favorite Green Day song and one that typically is at the end of their shows. Along with "American Idiot," "Holiday" is the most political of the songs on the album. The guitar chorus with the band kicking in. Armstrong with his most aggressive vocals taking aim at American conservatism and Bush and their alienation of a group of people. The guitar reverb and a slower pace highlight their US chart topper "Boulevard of Broken Dreams." Armstrong wrote this while taking a break in Manhattan and it's about feeling alone in a city. Nice vocals and lyrics. Their rock-pop anthem. "Wake Me Up When September Ends" was written in the aftermath of 9/11 and is based on Armstrong's Dad dying from cancer. More acoustic guitar but goes electric. Drums added. A guitar bridge. Somebody always still mentions to wake Billie Joe up on October 1. Bille Joe begins the closer "Whatsername" in a more deadpan voice. Catchy melody and chorus. The soft-loud-soft-loud dynamic. Melodies abound in this album. The band is tight and the music sounds great and rocks at times. Anthem after anthem. Green Day's best album in my opinion.

"Low-Life" is the third studio album by English rock band New Order. Synth pop, dance-pop and post-punk. Yep. This album is considered among their strongest work completing their transition from post-punk to dance-rockers. There's still some of what I consider post-punk here. They increased the use of synths and samplers. The album did reach the UK top ten. A couple drum beats and Bernard Sumner on the melodica open "Love Vigilantes." The melody chorus. Peter Hook's bass. A searing guitar solo to end the song. A happy-sounding song which tells the story of a soldier returning home to find his wife on the floor with a letter saying he was dead. Was that real? Did he really die? Near the top New Order for me. The first single was "The Perfect Kiss." Complex rhythm. Mutliple percussion sounds. Synth melody. Oh yeah, 80's dance territory. The first side ends with "Sunrise." This is post-punk. It moves fast...great bass, guitar and drums. It's about despair. Is this about their former Joy Division lead singer Ian Curtis? Well, side two opens up with a song about Ian Curtis in the instrumental "Elegia." Synths open and build. For some reason, this reminds me of Mike Oldfield's "Tubular Bells." The familiar dirge-like synth open their other single "Sub-culture." The beat comes in. I also like emotionless vocals in a hypnotic song and Sumner has them. The album closes with "Face Up." The song starts with darker, mysterious keys but the song turns happy and dance with Peter Hook's bass, a synth horn and Stephen Morris' drums. Two people were love and now he cannot bear the thought of her. A great song. This a very solid album with no bad songs. It's what I think of when you say a New Order sound. My favorite songs are the last two songs of each side which are basically deep cuts. Is this their best? Yeah, probably, although "Power, Corruption and Lies" and "Technique" are right there.

"Purple Rain" is the sixth studio album by singer, songwriter, producer and multi-instrumentalist Prince. It was a soundtrack to a movie he starred in with the same name. The album was a move away from funk to more rock and pop and was denser with multi-layer of guitars, electronic synth effects and drum machines. It was his commercial peak selling over 25 million copies and staying at #1 on the US charts for 24 consecutive weeks. The album is widely considered one of the best albums of all time, was put in the Grammy Hall of Fame in 2010 and the Library of Congress' National Recording Registry for its artistic significance in 2012. The organ, Prince introducing the afterword and the band kicking in start "Let's Go Crazy," two of the five album singles to reach #1. The synth melody. The shreading guitar ending...not the last shreading on this album. "Take Me With You" was written for Apollonia, the girl to get in the movie. It's a duet with Apollonia. Very catchy synth melody. Strings in the background. A great groove. The first side ends with "Darling Nikki," a song contributing to the start of "Parental Advisory" stickers. Come on...nothing wrong with singing about female maturation. It's slower and directed at Apollonia who decides to go with his movie enemy Morris Day. Grinding. The second half of this song is almost prog with the synths and guitar. The rock guitar intro with the beat begins his big one in "When Doves Cry." Outstanding intro. Then a keyboard melody with buzzing and a stark beat. No bass. Prince's seductive vocals. Prince's complex and emotional vocals highlight "I Would Die 4 U." The synth melody with electronic beat. And the album ends with the epic ballad "Purple Rain." The guitar open, drums, strings. It progresses slowly. Soulful backing vocals come in. The vocals are emotional. A lovely guitar solo in the middle and from then on the guitar takes away the melody. The song title is based on the America song "Ventura Highway." Purple being the color of blood in the sky. It's about the end of the world and being with the one you love and letting your faith guide you through. One of the 80's best. The album has hit song after hit song. The gorgeous melody with a mix of synths and guitar in the lead. It's rock, pop, dance and ballads. Legendary guitar solos. Emotional and compelling vocals. Yes, this still sounds great.

"Speakerboxxx/The Love Below" is the fifth studio album by American hip hop duo OutKast. It is a double album with a solo album from each member, Big Boi and Andre 3000. Big Boi's "Speakerboxxx" is southern hip hop with a P-Funk influence. It has themes of family, philosophy, religion and politics. Andre 3000's "The Love Below" is pyschedelic, pop, funk, electro and jazz with themes of basically love. The album had widespread critical acclaim and was a commercial success spending seven weeks in the US at #1. It also won Grammy's for Best Album and Best Rap Album. "Intro" opens "Speakerboxxx" with weird noises, a Gong and goes straight into "Ghetto Musick." This is fast and hard. We're kind of in EDM and industrial territory. It slows down with a sample of Patti Labelle's "Live, Need and Want You." Goes back fast. Big Boi using the vocoder. OutKast has one of the seven times when a song of theirs replaces another song of theirs at #1. And that's what "The Way You Move" did to "Hey Ya." Guest vocals by Sleepy Brown. The beat starts. Horns. Great R&B groove and overall song. Killer Mike brings it on "Bust." This is a little more hardcore rap. Big Boi still adds weird noises. Oh, those are throughout this album. Another great groove song is "Knowing." Big Boi going falsetto. "Last Call" has a host of rappers. Catchy chorus. Yes, they are talking about drinking. Right away you know, it's a different album with "The Love Below (Intro)." Strings. Piano. More majestic. Andre 3000 crooning. "Happy Valentine's Day" is funky with a great beat. Very Prince. A catchy female backing vocal chorus. "Prototype" is slower, acoustic guitar. Andre can go falsetto too. He's in love....again. "1,2,3, uh" and we're off with "Hey Ya!" Extremely catchy chorus. That bassline. I think Andre's background vocal sounds are a highlight. "Roses" is more in the R&B vein. Very interesting lyrics "Roses really smell like poo-poo-ooh." One of the few songs with actual rapping. I thought I was back listening to New Order in "Love in War." An 80's synth/key melody. Alright, I'm in. Acoustic guitar and Norah Jones in "Take Off Your Cool." I was just thinking what's needed here is a folk-rock-pop song and got my wish. Wow! This is a lot of music. No denying the creativity and substance of both. "Speakerboxx" is more rap and hip hop but the weird noises and everything else make this unique for that genre. I don't even know if I would consider "The Live Below" hip hop. It's jazzy, poppy, danceable, folk, EDM and probably more. Both of these albums are worth a listen. Give yourself some time.

"Aladdin Sane" is the sixth studio album by English musician David Bowie and his final studio album with his backing band The Spiders from Mars. A pianist (Mike Garson), two saxophonists and three background singers were also added. It was written while on tour in the US and is described as tougher, heavier glam rock than his previous "Ziggy" album. The lyrics take on the pros of the his new found stardom from "Ziggy" and the cons of touring - urban decay, drugs, sex, violence and death. The album title is actually based on the phrase "A Lad Insane" and is about Ziggy going to the US. The album reached #1 in the UK and #17 in the US. The album opens with "Watch That Man" based on Bowie watching the New York Dolls. More of a garage rocker. Prominent guitar and piano. The female backing vocals and sax. Sounding very 70's indeed. Bowie goes doo-wop in "Drive-in Saturday." Strumming guitar, sax and doo-wop backing vocals. It was written as the band traveled from Seattle to Phoenix where they saw silver domes and reminded them of a nuclear fallout. The tougher, grittier rock gets going in "Panic in Detriot." Great guitar riffs. The groove. The Bo-Diddly rhythm and beat. People screaming and general chaos in the background. Written about the Detroit Riots and The Stooges. One of my favorite Bowie songs. Piano, an ominous feeling and Bowie singing like he's in a play reading a part open "Time." Harrowing guitar screeching. It's about mortality and the death of the New York Dolls' drummer. Guitar, laser sounds and piano get the party started on the cover of The Stones' "Let's Spend the Night Together." Mick Ronson's guitar makes this version rock a little harder than the original. Bowie goes Suicide eerie at the end. The guitar, the bass drop and the Bo Diddly beat (again) kick off "The Jean Genie." According to Bowie it was "a smorgasbord of imagined America" and inspired by Iggy Pop. I've warmed to this album after repeated listens and actually think it's one of Bowie's best. The variety is there going from garage rock to jazz to doo-wop to blues to hard rock to pop and back. It is definitely grittier and I get a Stones' vibe on some of the songs. Any top notch Bowie is worth a listen and this is one of those.

"Live/Dead" is the first official live album (fourth overall) by American rock the Grateful Dead and a double album at that. It was recorded over a series of San Francisco concerts in early 1969 and to mitigate debt accrued from their previous album "Aoxomoxoa" and fulfill their record contract. They wanted a more representative version of their live performances. It also was the first live rock album to use 16 tracks. The album received positive reviews with critic Robert Christgau commenting that it "contains the finest rock improvisation ever recorded." High praise from a guy that I rarely see something completely positive from. Slow guitar, percussion and bass start their epic 23-minute "It" song "Dark Star." Honestly, this sounds like their tuning their instruments for a good long time. The song picks up and sort of gets a groove. Jerry Garcia in total jazzy improv mode. The vocals come in at the 6:00 mark. Is this an acid trip? About patterns of life? The start and end of life? Maybe all the above. The song continues with chaotic guitar, guitar interplay, improv and feedback. Yeah, what a journey. The second side kicks off with "St. Stephen." Hey, we have a melody here with the guitar. Prominent organ. This is more bluesy. St. Stephen was the first matyr of the New Testament and was stoned to death or is this about Stephen Gaskin, a 60's counterculture figure who formed a community. I'm saying both. The song transitions right into "The Eleven." This is fast pace. The rhythm and percussion stand out. Unique time signature. More blues-based guitar and even more trippy lyrics with fantasy and nature imagery. Imagine that. Side three begins with Ron "Pig Pen" McKernan on vocals on the Bobby Bland cover "Turn On Your Love Light." They do a great job fusing R&B and jam band. And, they do another unique cover with Blind Gary Davis' "Death Don't Have Mercy." This is their most bluesy song with organ. It adds a gospel vibe. Jerry bringing it on the vocals. And, why not end with nearly eight minutes of feedback on they do that with "Feedback." I'm of a fan of irritating noises but this takes right to the limit. The album actually ends with a 30-second a capella song "And We Bid You Goodnight." This album has incredible improvisation, pyschedelia, blues, jamming and guitar interplay. Each songs raises the intensity as the song progresses. I would have to give the slight live album edge to Europe 72' but this is really good. I wouldn't say this is for the casual music fan but any of the jam band and even jazz fans will appreciate most of this. And Deadheads? Well, you're already there with this.

"Vauxhall and I" is the fourth studio album by English singer and songwriter Morrissey. Prior to the album, Morrissey experienced the deaths of several close people (producer Mick Ronson, his manager and his video director). As such, there are not a lot of light moments here although Morrissey is, by all accounts, a pretty bitter person so it's hard to tell if its because of that. The title is a reference to the 1987 film "Withnail and I." Vauxhall is also an area of London known for its gay businesses and nightclubs and is a British car manufacturer. Ah, good ole Morrissey doing a double meaning album title like he did with his previous "Your Arsenal." The album did reach #1 in the UK and #18 in the US. A dreamy guitar opens the album on the third single released "Now My Heart is Full." This one has strings and Morrissey crooning. There's a reference to the 1938 Graham Green novel "Brighton Rock." Morrissey said this was his definitive expression of his change from childhood to adulthood. "Spring-Heeled Jim" has an eerie guitar open. Guitars are prominent from jingly to droning. Apparently, he's being sympathetic to a gang in London. The pace picks up on "Billy Budd," the most rockin' song on the album. Catchy rthymn guitar. About Smiths' guitarist Johnny Marr. The second single "Hold On To Your Friends" slows things down. This is more pop and it's nice sounding. That's a lot of the second half of the album. Morrissey actual had a US top 100 song in "The More You Ignore Ne, The Closer I Get. I can't help but think of Oasis on the guitar open. This was around the same time. More melodic pop guitar. The Moz getting bitter on his former Smiths' drummer Mike Joyce and all his legal actions for royalties. I was kind of in a daze until a lawnmower sounding guitar woke me up on the last song "Speedway." It's slower and sort baroque but has an edge and builds at the end. Morrissey is taking it possibly out on everyone here...Mike Joyce, NME, former or potential lovers and probably many more. This album was a lot more pop sounding than his previous brilliant "Your Arsenal." It is front loaded with the first five songs more rockin.' The remainding songs are fine if not remarkable. "Viva Hate" and "Your Arsenal" are definitely where I would start with Morrissey. This one is worth a listen for the first half.

"The Freewheelin' Bob Dylan" is the second studio album by American singer-songwriter Bob Dylan. Ten of the 13 songs are original complications. The songs cover stories from racial civil rights movements to fear of nuclear warfare and are balanced with love songs. In 2002, it was on of the first fifty recordings chosen for the Library of Congress' National Recording Registry for its artistic significance. "Blowin' in the Wind" opens things up with just an acoustic guitar and harmonica. That's most of the songs on the album. Dylan asking simple and complex questions about racial injustice and life. And, well, those answeres are just blowing in the wind. An ominously guitar on "Master's of War." Dylan relentlessly attacking the faceless people benefitting from war. Dylan asks simple questions to his blue-eyed son and darling young one in "A Hard Rain's A-Gonna Fall." They or maybe he answers with things that are ominous and optimistic. The duality and irony in the verses are pure poetry. Again, no answers but more questions. Utterly brilliant. The album closer "I Shall Be Free" juxtaposes Dylan getting and staying drunk, his oddball girlfriends and talking with John F. Kennedy about what to do to make the country grow. Well, Bridget Bardot, of course. We get Bob Dylan the comedian to end the album. What can you say about this album other than it is one of the best ever. The music straddles country, folk and ues with just a guitar, harmonica and a voice. The lyrics are serious, playful, funny and comedic. An absolute masterpiece.

"Band on the Run" is the third studio album by British-American rock band Paul McCartney and Wings. McCartney decided to record the album in Lagos, Nigeria where the band could record during the week and vacation on the beach on the weekends. Well, Wings members' Denny Seiwell (drummer) and Henry McCollough (guitar) quit right before leaving for Nigeria forcing McCartney to play guitar, bass and drums. Nigeria had just gone through a Civil War in 1970 with the resultant, a military government and rampant disease. Paul and Linda got robbed at gunpoint with the thieves taking tapes and notebooks. The recording studio had low quality equipment and recording itself was tense. They lasted six weeks on Lagos and finished it in London. Quite an achievement just getting anything of quality, it appears. The album themes are of escape and freedom. It received mostly favorable reviews with a few critics putting it on the same level as Lennon's "Plastic Ono Band" and Harrison's "All Things Must Pass" as best post-Beatle albums by their members. Commercially, it started of sluggishly but ended up the best selling 1974 album in the UK and Australia and hit #1 in the US for three weeks. The guitar/keyboard melody intro into that chunky guitar chorus open "Band on the Run." A song containing three passages going from rock to more folk with acoustic guitar and back to rock. The song is based on The Beatles struggles with the tecord label Apple corps, their manager leaving and drug busts for rock musicians. "Jet" was named for one of McCartney's kid's ponies. A dramatic open with the sax and goes rockin.' Nice, catchy backing vocals. A waltz start goes to one of the better guitar riffs on the album in "Let Me Roll It." Some thought this was a response to Lennon's "How Do You Sleep?," an attack on McCartney. Paul denied that and said it was a metaphor for rebirth. Nice vocal chorus again. The second side starts with "Mamunia," which was inspired by a Marrakesh hotel. This is slower with an acoustic guitar. The chorus repeating Mamunia. Nice harmonies. The album closes with "Nineteen Hundred and Eighty Five." A dramatic, dark piano led melody. McCartney vocals are almost searing. A sax added. Sort of chaotic music at the end with laser sounds and strings. It's about escape and artistic freedom. A great deep cut and one of the best songs on the album. A cut that was not on the original UK release but on the US and subsequent re-releases is "Helen Wheels." This is the most straight-forward rock song of the bunch. Everbody singing in the chorus. A name for Paul's Landover as they traveled from Scotland thru England. I remember this being the first album I bought (yeah, it was probably my Mom as I was six or so). The tunes still sound catchy. Some great guitar riffs by McCartney. Most of this is standard rock and, besides one song (the Picasso one), all good songs. Maybe not at the artistic level of the referenced Lennon and Harrison albums, but it is one of the albums that immediately comes to mind when asking for or mentioning solo Beatle albums.

"Illmatic" is the debut album by American rapper Nas (Nasir bin Olu Dara Jones). The album was recorded in multiple NYC studios with multiple producers including DJ Premier, Large Professir, Pete Rock. Q-Tip, L.E.S. and Nas himself. It is hard-core hip hop featuring multi-syllabic internal rhymes and inner-city narratives of Nas' experience growing up in the Queensbridge Houses in Queens, NYC. Yep. The album is considered a landmark album in East Coast hip hop with its production and lyricism contributing to the revival of the NYC rap scene. Initially, it had had low sales but has since sold over two million copies. The album had mostly rave reviews and in 2021 the Library of Congress added it to the National Recording Registry for its artistic significance. Subway sounds open "The Genesis." There's people talking about counting money, Hennessey and the lack of legimacy among the MC's in the projects. Samples from "Subway "Theme" which was in the first hip hop film. "Wild Style." DJ Premier produced "N.Y. State of Mind." Dark, jazzy piano samples. Just great sampling. Trap doors, rooftop snipers, drug dealers and "the dungeons of rap." The mind state from living in the ghetto. "Life's a Bitch" is lighter sounding...a more R&B beat, soul and jazzy. Guest rapper AZ. "Life's a bitch and then you die that why you get high." Pete Rock produced "The World Is Yours." More jazzy and optimistic. Scratching is added. The first single when Nas was Nasty Nas is "Halftime." Nas showcasing his rhyming skills. More great sampling with the Average White Band, Gary Byrd and a Hair musical. A fantastic sample from the Heath Brothers' "Smilin' Billy Suite Part II" highlights "One Love." A Tribe Called Quest's Q-Tip on production. Maybe Nas' best lyrics as he writes letters to his incarcerated friends talking about unfaithful girlfriends, tortured mothers and the underdog legacy. The album ends with "It Ain't Hard to Tell." Rap braggadocio and samples of Michael Jackson's "Human Nature." This album has just great rap rhyming, sampling and production. The music is dark, eerie and hypnotic when the tone is serious and more jazzy, souful and R&B when optimistic. Nas' rapping is authoritative and confident. He tells the story of the inner city in more of a observatory way neither glamorizing or condemning it. An album in many ways worthy of its high acclaim.

"Suede" is the debut album by English alternative band Suede. The album is considered one of the first Britpop records and also glam rock with influences of David Bowie and The Smiths. Guitarist Bernard Butler composed the majority of the melodies and music and singer Brett Anderson wrote the lyrics which he said was mostly about sex and depression. Interestingly, the two did each part separately. The album was the fastest selling debut album in Britain in a decade (since Frankie Goes to Hollywood. I'm not sure if they made the challenge) and won the 1993 Mercury Prize (Best Album in UK). "So Young" opens the album and we get the strengths of Suede: Butler's guitar is alternative sounding, melodic and hard. Anderson's vocals have a higher tone and at times he goes falsetto. It's about his girlfriend's overdose and the knife-edge of being young. Suede flexes their glam-rock muscles in "Animal Nitrate." Very Bowie-esque. Melodic. The vocal chorus. A wah-wah guitar solo. Violence, abuse, sex and drugs. A groovy guitar riffs opens their first single "The Drowners." The guitar goes melodic and stays hard. Eerie lyrics as he's kissing in his brother's bedroom. Is he kissing his brother? A girl? A boy? "Metal Mickey" was inspired by Daisy Chainsaw vocalist KatieJane Garside. A chunky swirling hard rock guitar. Catchy vocal chorus. "She sells heart." The album ends with "The Next Life," a piano-based ballad. Emotional vocals as Anderson laments his deceased Mother. This is an excellent album. For what's called Britpop, the guitar is edgy and hard. Anderson's vocals are mostly emotional and very glam. Risqué lyrics with implied incest, drugs and sex. Risqué album cover too. Adding all this up makes this definitely worth a listen.

"Like Water for Chocolate" is the fourth album by American rapper Common. It was his first major label album and was produced by a host of people including Questlove (executive), Derek Dudley, J Dilla, James Poyser, DJ Premier, D'Angelo, Karriem Riggins and Common himself. This album marked the beginning of The Soulquarians of which most of these producers were collectively known as and appeared on others' albums as well. The genres listed are hip hop, alternative hip hop, conscious hip hop and progressive hip hop. It has afrocentric and socially conscious themes. The album was named after the 1989 Laura Esquivel novel of the same name and Common said was also named for his Pisces sign (water) and soul/blackness (chocolate). It was his commercial and critical breakthrough. The sound of ocean and birds, jazzy horns and Afrobeats open "Time Travelin.'" Women chanting. Pyschedelic rapping with echoes. The song is a tribute to Afrobeat music and human rights activist Fela Kuti. "Cold Blooded" has guest rappers Rahzel and Ray Hargrove. This has more of groove. It's funky and very 70's sounding. It better be as it samples Parliament, Fred Wesley and the JB's and the Steve Miller Band. The second single "The Light" has reverb-type beats and is soulful. Great poduction by J Dilla and sampling of Bobby Caldwell in the chorus. A hip hop love song. One of the best I've heard. A sample of Gil Scott Heron's "The Revolution Will Not Be Televised" begins "The 6th Sense." This is soulful and uplifting. The hip hop culture and social consciousness. Common tells a story in "Payback is a Grandmother" of a thief who robs his Grandfather. Sirens ends the song. A spoken word song ""Pop's Rap III...All My Children" featuring Common's father ends the album. Relaxing. Jazzy. Chill. It's funny; I was just watching Common last night in the Apple TV series "Silo." Recommended by the way. This album is dense, groovy, souful and funky. I think executive producer Questlove had something to do with that. Songs of love, ills of society, battle rap and family. Great production with all involved. It is sprawling and long at 77 minutes but a lot here worth giving this a listen.

"Freak Out!" Is the debut album by American rock band The Mothers of Invention. The Mothers of Invention consisted of Frank Zappa (guitarist/vocalist), Ray Collins (lead vocalist/tambourine), Ray Estrada (bass/vocalist), Jimmy Carl Black (drummer/vocalist) and Elliot Ingber (guitarist). The album's producer signed the band to Verve Records (MGM) for their white-blues sound. He got that and also doo-wop, songs with orchestral arrangements and avant-garde and experimental rock. The album was one of the earliest double albums and one of the first concept albums with Zappa's satirical perception of American pop culture and the growing freak scene in LA. It was not initially a commercial success but later developed a cult following along with Frank's other albums. Hey, it's The Stones! No, it's actually a rhythm and guitar that sounds like "(Can't Get Me No) Satisfaction" in the opener "Hungry Freaks Daddy." A searing guitar solo. An attack on the American school system. A bass drum and eerie work start "Who are the Brain Police" People screaming and pyschedelic guitar. This has a religious theme of sorts with people policing their own brains. Even Frank said this was one of his scariest songs. I'd agree. "Motherly Love" is more pop sounding with some nice 60's sounding harmonization. I think about groupies. An orchestral background is added to "How Could I Be Such a Fool" which satirizes teenage love. "Wowie Zowie" has a piano and is doo-wop. I think it's actually satirizing doo-wop. Did Pavement name their last album after this song? The third side begins with "Trouble Everyday." Here's the dirty bluesy sound the producer was looking for with the guitar and harmonica. Another excellent Frank guitar solo. A song about racial injustice and the Watts' Riots. One of my favorite Zappa songs. From here on out, things get weird and experimental even for Frank. "Help, I'm a Rock" is a three part suite. A repetitive beat and rhythm. A droning background. People making all sorts of random noise including a woman having an orgasm. Hey, this is 1965 for heaven's sake. Tipper Gore was not in the room. This reminded me of Pink Floyd's "Several Species of Small Furry Animals Gathering" so I'm a fan to a point. The entire fourth side is "The Return of the Son of Monster Magnet" where we are introduced to Suzy Cream Cheese and her conscious talking to her. The first half is a pyschdelic jam. The second half involves actual freaky people they brought in from the Hollywood streets to make random noises. The furry animals are back. I don't want to meet Suzy Cream Cheese ever. If you want variety and weirdness, this is it: blues, pyschedelic, garage, doo-wop and experimental. The satirical lyrics are pretty funny and so is the satire of actual music styles which I think they are doing at times. I like this album throughout but for the normal person, sticking to the first half and the singles is probably recommended. But, hey, if you like random sounds and chaos keep the record going.

"Yankee Hotel Foxtrot" is the fourth studio album by American rock band Wilco. This album has quite the history; it was initially rejected by their label at the time Reprise as they did not like it. Wilco was somehow able to acquire the rights and self released via their website the album a week after 9/1. They eventually signed with Nonesuch Records who released the album commercially on 4/23/2002 where it reached #13 on the US charts and is still Wilco's best selling album. There was also plenty of drama with the recording as documented in the film "I Am Trying To Break Your Heart" as they fired drummer Ken Coomer (replaced with Glen Kotche) and it was the last album with multi-instrumentalist Jay Bennett. The album and sound itself were more atmospheric and experimental than previous three albums. The album received very high critical acclaim making it toa lot of top ten lists for best albums of the 2000's. An electronic drone and drum beat open "I Am Trying to Break Your Heart." This is a gutsy way to open an album. Acoustic guitar. Bells. Jeff Tweedy's smoky voice. Clever lyrics. I think longing for love but he'll only break her heart. The song ends with distortion and Tweedy screaming. "Kamera" is more pop and has a groove and great backing vocals. He needs an objective view of himself. "Radio Cure" is stark and ominous with the drum beat and pace. The pace picks up and ends more optimistic. Music is the cure sometimes. Strings open and dominate the melody in "Jesus, Etc." Great lyrics and chorus. "Turning Your Orbit Around." We're small to the universe but need each other. One of Wilco's best. A drum machine beat and we're off with their pop song "Heavy Metal Drummer." Oh, to be young again at The Landing playing KISS covers beautiful and stoned. "Poor Place" is another stark song with a hushed drone, Tweedy's voice and piano. The song builds with swirling keyboards. A robotic female voice repeating Yankee Hotel Foxtrot in the background. I'm guessing he's telling the story of a soldier coming home with PTSD. More hushed drones is used on the closer "Reservations." A guy who's down on himself but has no reservations about his lover. The song ends with a three to four-minute church organ fade out. Suzy Cream Cheese was not around either. This album still sounds fantastic. You really notice the space which gives these songs time to breathe. The meticulous arrangements and sound details. Tweedy's voice is strained, emotional and exhausted and contributes to maybe his best performance. Picking a favorite Wilco is impossible for me. Everything from " Being There" through "A Ghost is Born" has been my #1 at some time. This one is defintely worth going back for a listen.

"The Black Saint And The Sinner Lady" is a studio album by American jazz double bassist, composer and bandleader Charles Mingus. The album is a single composition partially written as a ballet and divided into four tracks and six movements. It blends jazz and classical styles integrating African music and Spanish themes. Mingus used an 11-piece band. This album is considered one of the best jazz records of all time. I'll back that from what I've heard. "Track A - Solo Dancer" starts with drums and multiple horns. I think a tuba gives a grinding sound in the background. Multple layers of horns (throughout this album too) and horn solos. The pace slows down with the bass plodding along. "Track B - Duet Solo Dancers" opens with a piano. Multple saxophones take center stage. Very seductive. The pace picks up into almost constructive chaos. A flute take the lead in the beginning of "Track C -Group Dancers." Ah, let's throw in a Spanish guitar. Lookout, everyone joins the fun. You could listen to this song ten times, just focus on one instrument and hear a different song. Together...gorgeous. And, they bring it altogether in the closer "Mode D," "Mode E" and "Mode F." All the instruments are involved. The pace changes constantly. They combine all of what they were doing before. The most dramatic of the pieces. A great ending. Yeah, this is one heck of a musical achievement. It is one of the most complex jazz albums I've heard with all the layers of horns. I'd say this is busy but in a good way. Mingus does give certain instruments space occasionally. It plays like a movie soundtrack at times. With my limited jazz experience, the albums I tend to like the best are the ones with different lead instruments and pace changes. This has that in spades. Fantastic.

"All That You Can't Leave Behind" is the tenth studio album by Irish rock band U2. The band wanted to record music more akin to their earlier work after their more experimental 1990's work and the disappointment of their previous album "Pop." I kind of think their more experimental albums are their best...but. The band brought back producers Brian Eno and Daniel Lanois who had collaborated on three of their previous albums. The album received mostly positive reviews. It was a commercial succes selling over 12 million copies. It also won them seven Grammy's. The Edge used a guitar tone in "Beautiful Day" he hadn't used since "War." Electrification of chords also. Larry Mullin's drum and Adam Clayton's bass. A nice backing vocal chorus by The Edge. Bono doing Bono. About losing everything but still finding joy in what one has. The band adds gospel-like chords in "Stuck in a Moment and Can't Get Out." Piano. Synths. The lyrics were inspired by a fictional conversation between Bono and Inxs' Michael Hutchence about suicide. The Edge gets a fuzzy guitar going on "Elevation," the most rockin' song on the album. Hypnotic beat. I have no idea what Bono is singing about. "Walk On" has a great guitar chord progression, the best on the album probably. Nice harmonies at the end. It's a song that's banned in Burma since it is about Burmese leader Aung San Suu Kyi who was placed under arrest for his pro-democratic activities. "Kite" has a loop of strings and a slide guitar. It's Bono most emotional vocal delivery on the album. Dual meaning perhaps, being about Bono's daughters flying kites and, also, his father who was dying of cancer at the time. A quicker drum beat and synths open "New York." The bass and guitar come in slowly with Bono whispering/talking. The song then takes off with the guitar and Bono. It goes back slow. Again, I'm a sucker for the soft-loud-soft. The only alternatve-sounding song on the album and my favorite. It would have been interesting to see what this album might have been with more songs like this. It was a picturesque description of New York and a tribute to Lou Reed and Frank Sinatra. It's been awhile since I listened to this and it is a nice sounding pop album. It has to be their best of this century; I know a lot may think that's not saying much. I have to admit I didn't dig too deep into their catalogue after "Zooropa." It is front loaded with the second half being just OK withe exception of "New York." Anway, the first half is solid if not stretching any musical boundaries and the album is worth a listen again if you weren't burnt out when this came out.

"Let's Stay Together" is the fourth studio album by American soul singer and songwriter Al Green and a follow-up to his moderately successful "Al Green Gets Next to You." The album was produced by Willie Mitchell who also co-wrote with Al several songs. It marked the beginning of Green's clasic period of critically acclaimed albums and was also a commercial succes hitting #8 on the US pop charts and debuting at #1 on the soul charts. Horns open the title track "Let's Stay Together." Green's voice goes from falsetto to whisper. Strong female backing vocals. It doesn't get much more soulful than this. It was a song that also put in the National Recording Registry by the Library of Congress for its artistic significance. Green uses his falsetto throughout "La-La For You." Romantic horns and subtle guitar. "What Is This Feeling" is more uplifting with the horns. Green's adds crooning with his falsetto. More solid backing vocals. Green covers Eddie Floyd's "I've Never Found a Girl (Who Loves Me Like You)." Layered horns open. This time backing male vocals. And besides the open track, the highlight of the album is his cover of the Bee Gees' "How Can You Mend a Broken Heart." A gentle version with guitar, organ and strings. Green whispers and builds the song ending with him shouting. Just fantastic. This album shows the full range of Al Green's voice from whispering to falsetto to crooning to screaming. Horns drive the melody in most cases with the band laying down the rhythm. Prominent and strong baking vocals. This just oozes soul. Hard to see anyone not liking this to some extent.

"Dear Science" is the third studio album by Brooklyn-based band TV on the Radio. Indie rock, art rock, funk, soul and post-punk. Yeah, they cover all those genres. The lyrics mention death, dying and the dead and the landscape is self-hate, Bush-hate (it is 2008) and future-fear. The album was produced by bandmember David Andrew Sitek who also said a phrase from which the title came from: "Dear Science, please start solving problems and curing diseases or shut the fuck up." I get the big picture-ness of that quote but somehow it falls flat with me. Sure, I'll blame biology for being short and trigonometry for the arc-sin function. Anyway, this album did receive universal acclaim. A drone-y, shoe-gaze-y guitar and a clapping beat start "Halfway Home." Lead singer Tunde Adebimpe whispering. It switches to more synth-based and ends dramatic and chaotically. A song about suicide I think and a nice way to open an album. The second single "Dancing Choose" has a fuzz sound and rapping. Horns are added and the song really builds. Social/ political commentary. The lead single "Golden Age" has a funky start and beat. Tunde with a falsetto. There's billowing horns and strings giving it a very grand sound. Band members said it was about utopia. We need some positivity at this point. Repetitive jangly guitar and a synth loop dominate the first half of "Shout Me Out." The song just takes off midway through a la "Wolf Like Me." This is what I've been waiting for. The closet thing to a straight-forward rock song on the album. "DLZ" has a hypnotic beat and eerie synths. A la-la-la chorus. It's maybe the thematic heart of the album as it mentions the evils of science. And, the album ends with a song about, well, sex in "Lover's Day." Didn't see this coming. Layered vocals, horns, jingle bells and a flute. We needed the flute. This album has complex production with the layers and arrangements of horns and strings. The songs build musically with tension. The lyrics are serious matching the music. Maybe I should reverse the sentence. Naw. There's funk, ballads and mostly slow songs. I have to be honest; this takes a few listens to get into. Once I did (fifteen years ago and today), I really liked it. If you're willing to do that, you will be rewarded.

"Funeral" is the debut album by Canadian indie rock band Arcade Fire. Indie rock, chamber rock, art rock and baroque pop. Yeah, sure. Well, everyone in the band seems to play all instruments. And there are all instruments. The album was recorded in Montreal and produced by the band for a mere $10,000. The album title and the basis for several songs came from several bandmembers recently losing family members. Multi-instrumentalist/vocalist Régine Chassagne lost her grandmother and her husband Win Butler and his brother Will lost their grandfather (both multi-instrumentalists as well). The song themes include alienation, loss of innocence, frustration with and tensions in governments and family ties in neighborhoods. This album had widespread critical acclaim propelling them to indie rock icons. An organ hum, undulating strings and a repetitive piano melody open one of the four neighborhood songs in "Neighborhood #1 (Tunnels)." The drums kick in and the song keeps building with the pace picking up and increasing. I've had a lot of songs building over the past two days. The song is set in the 1960's with two kids sneaking off to each other through tunnels leaving parents distraught with the Vietnam War, assassinations and sex, drug and rock and roll. There's been a few songs I've heard where as soon as I heard it I went out to immediately buy the album and "Neighborhood #3 (Power Out)" did that for me. A pop beat, jangly guitars and an initial xylophone melody. Layered guitars. One of a few anthems on this albums. This song was inspired by the 1998 ice storm in Montreal resulting in a week-long blackout. Overall, about alienation. "Crown of Love" has weeping strings and a piano and then totally changes towards the end going basically disco. The second half of this album has several songs where you see the music style change within the song. Welcome to big anthem #2 in "Wake Up." Also, Arcade Fire welcome to permanence as arena-level artists. '"Oh-Oh-Oh....-Oh." You know it. Guitar, drums, strings. Another musical change at the end with Régine taking over lead vocals from Win. Loss of innocence and trying to reach someone who's suffered trauma. A repetitive piano and bass help build tension in "Rebellion (Lies)." "Every time you close your eyes. Lies. Lies." Maybe the struggle for a government you want to what currently is. Yeah, this is a pretty landmark indie and overall album. The songs are musically optimistic and uplifting despite mostly lyrically dire landscapes. Most songs build with a chamber/baroque pop start ending in more of rock and roll realm. It's quite a feat writing a few anthems on your debut album. I do like several of the subsequent Arcade Fire albums quite a bit. But, "Funeral" is without question my favorite and their best.

"The Köln Concert" is a live recording of solo improvisations by American pianist and composer Keith Jarrett. It was recorded at the Opera House in Cologne, Germany by 18-year old Vera Brandes at 11:30PM following an earlier opera performance. Jarrett began his career with jazz drummer Art Blakey and also worked with musicians Charles Lloyd and Miles Davis. Jarrett's requested piano was not secured for the concert and he famously used a smaller baby grand piano which forced him to played differently. The album became the best selling solo album in jazz history and best selling piano album. It also cemented his reputation as the top pianist of his generation. The album has two parts with the second part having three sections. "Part I" starts with a vamp (repeating musical loop) with improvised material layered within. That's pretty much what Jarrett does throughout the performance. He goes to just improvising then back to the vamps and improv. He adds yelling as well. The pace picks up at the end. Lovely. "Part II" is a similar format to "Part I." "Part II a" has more of a rolling vamp and he adds funk. In "Part II b," the improv has a spiraling feel. He closes the album with "Part II c" and a straight six-minute improvisation. This album is quite compelling. Never boring. The variation of the vamps and improvisation for over an hour is impressive. His yelling adds emotion. An album everyone needs to hear if just one of the parts.

"Faith" is the debut solo album by English singer George Michael. Michael wrote and produced every song except one in which he co-wrote with David Austin. He also played a lot of the instruments himself. He was tired of the bubble-gum pop reputation from Wham! and wanted more "black" inspired pop R&B similar to Michael Jackson and Prince. The lyrics were introspective and generally about personal relationships. The album was a massive commercial success hitting #1 in the US and UK and was the first album by a white artist to hit #1 on the Billboard Top Black Album Charts which Michael was the most proud. It also has sold roughly 25 million copies, won The Grammy for album of the year and had widespread critical acclaim. An church organ playing Wham!'s "Freedom" opens "Faith." It then turns pop rockabilly with an acoustic Bo Diddly riff. Michael goes soft with a whisper and then goes loud. Very catchy pop song. You have to have faith in something that's real. The end sort of reminds me of "Footloose." "Father Figure" is a soulful R&B ballad. Synths, a drumbeat. Michael goes soft and loud again. Solid gospel backing vocals. About a partner being older. The first single (of the seven) released was "I Want Your Sex (Part 1 & 2)." The first part is rhythm heavy with a synth melody. The second part has horns and is more club-like. I think we know what the song is about. "One More Try" is slower, soulful, a ballad. Michael is crooning, emotional-his best vocal performance on the album. A man who pushes a lover away and ends up with that person. The second side has a few funk songs. "Hard Day" is bass heavy with a clunky 80's beat. "Monkey" continues the 80's funk. Very 80's synths. Echoing vocals. A jangly guitar. About a relationship with an addict. And why not throw in some jazz which is what Michael does in the closing ballad "Kissing a Fool." A piano. A sax. He's describing a break-up. One of the strengths in this album is variety - funk, R&B, jazz, soul, rock and pop. There were a number of times I heard other artists including Prince, Bo Diddley, New Order and "Footloose" but the overall album is definitely Michael's. The synths and beat sounded very 80's on some of the songs especially on the second side. The first side is hit after hit. I don't remember even attempting to listen back in 1987 (I didn't need to with seven singles) but overall this is a very, very solid album.

"Machine Gun Etiquette" is the third studio album by English punk band The Damned. It was their first since reforming with Dave Vanian (vocals), Captain Sensible (guitar) , Rat Scabies (drums) and Algy Ward (bass and his only album with the band). The album added more variety to their punk rock with hard rock, heavy metal, pyschedelic rock, prog and 60's R&B. A fairly apt and interesting description is The Beach Boys meets Motörhead with T. Rex and Judas Priest thrown in. It is considered prototypical hardcore punk that would be more prevalent later in the 80's. A guy saying : Ladies and gentlemen, how do" opens "Love Song." A chaotic open and a Lemmy-like drving bass. It thrusts into punk with a melodic guitar. An anti-love song love song as Vanian is basically saying well, here's your love song. "I Just Can't Be Happy Today" has wobbly guitar/keyboards. This is very 60's pyschedelic rock sounding. And, we get a keyboard/organ solo. A dramatic guitar starts "Plan 9 Channel 7." It's a song about a 50's horror movie of the same name and considered one of the worst movies of all time and it's main character Vampira. Layered guitars, pyschedelic pop and it's danceable. Dual guitar solos with underlying keyboards end the song. Quite the trip. They cover The MC5's "Look at You" and give a fusion of punk and jam band. They really kick it in at the end. The final song "Smash It Up (Parts 1 &2)" is slow with a melodic guitar and bass. Hey, they out-cured mid-to-late 80's The Cure. A pop-ish chorus and an organ. Smashing up societal ideals. This album is drving music with all instruments full throttle most of the time. Just fantastic guitar by Captain Sensible. It's punk at heart but adds variety and is very 60's sounding at times. A high recommendation and if not their best, right there.

"The Specials" is the debut album by British ska revivalists The Specials. The album was produced by Elvis Costello and released on keyboardist Jerry Dammers' record label 2 Tone. Ska, reggae, 2 Tone, punk rock and new wave are the listed genres with some calling this album the defining moment of the UK ska scene. The songs are a mix of original songs and covers of classic Jamaican songs. An interesting description of the album is that "it captures the disaffection and and anger felt by the youth of the UK's "concrete jungle" (concrete jungle - a phrase from Bob Marley) used to describe the grim, violent inner cities of the 1970's Britain. The album actually received mixed reviews upon its release but now continues to make a lot of "best of" lists. "A Message to You Rudy" is a cover of the 1967 Dandy Livingstone song. Horns (trumpet and trombone) drive the song. A reggae beat. Multple lead vocalists telling the rude boys and girls to stop foolin" around. Crowd noise including wanting drugs open "Nite Klub." Jazzy horns go to ska. Keyboards take the melody. A great guitar solo. A catchy backing vocal chorus including Chrissie Hyne. A fun song. "Doesn't Make It Alright" has a slower reggae beat. Maybe, vocalist Terry Hall's best performance. An anti-violence anti-racist song. A great deep cut. A cheerleading chant and clapping hands and drums start "Concrete Jungle." Lead guitarist Roddy Radiation wrote and sang lead vocals. This song is more rockin' punk and fast. The bass is reggae. Nice guitar solo. The band continues the quick pace in the cover of Toots & The Maytals' "Monkey Man." Multiple vocals. "Little Bitch" alternates between hard rock and ska. The song lyrics tell the story of a complaining rich girl who would apparently commit suicide to gain attention. Vocalist Terry Hall regrets the lyrics of this as he would actually deal with suicide issues himself. The album ends with another cover in "You're Wondering Now." Slower, more laid back reggae. Mutiple lead vocalists. A nice way to end. I really enjoyed this album and it grew on me after multiple listens. The music moves between ska and other styles. Multiple lead singers and lead instruments. The lyrics are sociopolitical at times. Other times not. Yeah, a lot to like beyond the few songs you've probably heard.

"Rumours" is the 11th studio album by British-American rock band Fleetwood Mac. The album was largely recordered in California in the aftermath of several bandmember relationship breakups (all members involved in a breakup) and infamously with an influence of heavy drug (cocaine) use. It was produced by Fleetwood Mac, Ken Caillat and Richard Dashut and the intent was a more "pop" album after the succes of their 1975 album. The music was a mix of acoustic and electronic instruments and accented rhythms, guitars and keyboards. The lyrics were about personal and troubled relationships. It was critically acclaimed especially for its production and vocal harmonization. The album was a massive success hitting #1 in the UK and US and selling ten million copies in its first month of its release. It won the 1978 Grammy for album of the year and in 2017 was selected for the Library of Congress' National Recording Registry for its artistic significance. A great description of the album is "the quintessence of the counter-culture mindset lured into coke-fueled hedoism." Yeah, well, it worked to a very higher level. Four audio tracks of electronic guitars and a chair percussion to create Celtic rock build up the opener "Second Hand News." Inspired by the Bee Gees "Jive Talkin'" and you can really hear that. Great vocal harmonies here and throughout. Buckingham is Nicks' second hand news. Lindsey does give a searing guitar end. Stevie has a much more optimistic and hopeful tale of the break-up in "Dreams." The drum beat and dreamy music. A repeating two note bass. Iconic lyrics throughout: "Thunder only happens when it's raining." Christine McVie offers more hope and optimism to her ex-husband bassist John McVie on "Don't Stop." Piano and drums come in. Underlying guitar. A good song to hum to. The first single and another more pessimistic Buckingham take on the Nick's breakup is "Go Your Own Way." More rockin with the guitar and drums. I love the way this song sounds like it wants to take off and then eventually does. More great harmonies. "The Chain" was written by all members and is a combination of four songs. All three taking turns as lead singer. Buckingham on the dobro. This song always reminds me of a western movie for some reason. Christine McVie offers the good times again in "You Make Loving Fun," a song about her current boyfriend. A definite Stevie Wonder vibe. The album ends with the haunting "Gold Dust Woman." Cowbell, harpsichord, glass breaking and Stevie's weary voice. A story about a LA woman in bad relationship, doing drugs and trying to live. Autobiographical? This album still sounds fantastic. Hit after hit. Tremendous harmonies. Catchy music. Very creative construction of music pieced together. Dynamic with the rotating lead singers. It's interesting with just the different tones of the lead singers' lyrics alone. A classic in every sense of the word.

"Sunday at the Village Vanguard" is a live album by jazz pianist and composer Bill Evans and his trio who with himself is comprised of bassist Scott LaFaro and drummer Paul Matian. The material was drawn from the trio's five sets performed on June 25, 1961 at the Village Vanguard in New York City. It was the trio's last recording as Scott LaFaro would die in an auto accident 11 days after. Bill Evans and producer Orrin Keepnews selected songs for the album that would best feature LaFaro's performances. The album is widely considered as Evans' finest and routinely ranked as one of the best live jazz recordings of all time. A piano start and idiosyncratic drums open "Gloria's Step (Take 2)" There's a plodding bass. Each instrument is kind of improvising on their own yet connected as a band. A bass jam as LaFaro goes up and down the scales. Also, a song he wrote. The band covers George Gershwin's "My Man's Gone Now." It's slower, piano led. The drummer is using the cymbals/snare to make a rain sound. Another bass improvised solo. They then cover Mike's Davis' "Solar." A quicker pace with the drums more bebop. All three instruments take their turns in improvised solos. The album ends with another LaFaro song in "Jade Visions (Take 2)." A soft bass open. The piano is featured more prominently. Drums add a brushing sound. The interplay between the musicians on this album is quite impressive: when one musician finishes, another one steps in as lead. The band goes back and forth playing in unison and giving each other space to improvise. Each solo is unique in these songs. This is a high level jazz and overall album.

"You've Come a Long Way, Baby" is the second studio album by Fatboy Slim, a project of English electronic producer, DJ and former Housemartin bassist Norman Cook. The album was recorded at Cook's home in Brighton, UK using an Atari ST computer, Creator software and floppy disks. The genres are big beat and techno with one critic naming it the definitive big beat album. It was widely acclaimed and his breakthrough album peaking at #1 in the UK and #34 in the US. The album cover (US changed it) was taken at the 1983 Fat People's Festival in Danville, Virginia. The album title was the slogan for Virginia Slim cigarettes. The name of the artist is Fatboy Slim. Ah, clever. I see the connections. A slow synth opens the fourth and final single "Right Here, Right Now." Beats. A dreamy song. Various music samples from the James Gang's "Ashes, the Rain & I." The song title and repeated vocal chorus is a sample quote from Angela Bassett in "Strange Days." The Lord Finesses vocal sample "Right about now, the funk soul brother, Check it...." repeats throughout "The Rockafellar Skank." Scratchy, repetition, tempo changes. One of the most memorable vocal samples. Quite creative. A highlight of "Gangster Tripping" is the layered samples. Scratching. "You got to get down." A sample of a DJ Shadow sample. I'm just going to keep using sample in every sentence and why not continue with "Praise You" since there arectwo brilliant uses of sampling here. "Take Yo' Praise" by Camille Yarbrough is stretched into the primary vocal chorus. The main melody is a piano sample from a JBL test album "Sessions." How did he even find that? Every song samples four to eleven songs, quotes, video games and noises. I don't know if there is any sound entirely original here except in the very creative and original way Cook puts this together. The music itself varies from techno, 80's synth computer pop, club, industrial, big beat and hip hop. The top-end hits are catchy, some of the best of the 90's and the rest was experimental enough for me to keep it interesting and definitely worthy the listen.

"Surrealistic Pillow" is the second studio album by American rock band Jefferson Airplane and the first one with vocalistic Grace Slick and drummer Spencer Dryden. Folk rock, pyschedelic rock and acid rock. Yep. The album is cited as one of the quintessential works of early pychedelic rock and the 1960's counterculture era. The one and only Jerry Garcia was credited as "spiritual advisor," was involved musically and coined the album title as he described the music as being "as surrealistic as a pillow is soft." Word. The album was a commercial success hitting #3 in the US. A Bo Diddley drum beat opens "She Has Funny Cars." Pyschedelic guitars. Marty Balin and Grace Slick on lead vocals. Materialism in American society. "Somebody to Love" was originally recorded by Grace Slick's former band The Great Society but this is the version that hit it. Slick's vocals come on strong. The pounding music. One true love will nuture us through tough times. The first single "My Best Friend" was written by former drummer Skip Spence. This is more pop with a bluesy guitar. Vocal harmonies and three lead singers, Balin, Slick and guitarist Paul Katner. Very Mamas and Papas. Hey it's "Dark Star!" No, it's "Today" with Jerry Garcia on lead guitar. A folk, rock ballad Balin wrote to Tony Bennett who was in the next studio. Unfortunately, Marty never met Tony. The marching band drums, the seductive pyschedelic guitar and "One pill makes you nervous.......go ask Alice when she's ten feet tall" begins "White Rabbit." Another song written while Slick was in The Great Society. But, this version....Good Lord. One of the best ever rock vocal performances in my world. Using Alice in Wonderland imagery to follow the white rabbit (your curiosity...drugs)...a slap at parents who read their children these books and wondered why they did drugs. Yeah, why? The album ends with "Plastic Fantadtic Lover." Co-lead guitars, acoustic and electric pyschedelic. About TV addiction...even back then, eh? This is a great album. Besides the pyschedelic 60's sounding music, there's elements of pop, blue grass and blues. Great, great vocals. The multiple lead singers and harmonization really highlight the Mamas and Papas' influence. Some clearly iconic songs of the time that have held up. A classic.

Album #378 (1001 challenge): "Call of the Call of the Valley" is a Hindustani classic album by Shivkumar Sharma, Brij Bhushankabra and Hariprasad Chararaurasia. It is an instrumental album with Sharma on santoor, Brushankabra on slide guitar, Chaurasua on flute and bansari and Manikrao Popatkar on tabla and follows a day in the life of an Indian shepard. The album helped introduce Indian music to Westerners, became the best selling Indian album worldwide and is a milestone in world music. It also had fans in Paul McCartney, George Harrison, Bob Dylan and others. The first song "Ahir Bhairav/Nat Bhairav" really showcases the music and album. It starts with the stretched strings of the slide guitar. The santoor comes in to add melody. Then a flute. Then tabla. Each instrument seems to be going their own way but the music sounds connected. The remaining songs seem to highlight an instrument. With "Rag Piloo," it's tabla, "Bhoop" and "Reg Pahadi," the flute, and "Rang Des," the slide guitar and santoor. This album was really chill for me. It was very similar to jazz in that each instrument came to the forefront at times with improvisation yet the music was connected between the instruments as a whole. It's mostly a joy to listen to a new style (to me) of music especially if it's good. And, this is very good.

"Power in Numbers" is the third sudio album by American hip hop group Jurassic 5. The album starts where their previous album "Quality Control" left off with the same bass line. It features different song styles and songs generally start and end with a speech sample. The album had decent critic reviews and commercially hit #16 in the US and #46 in the UK. After a brief intro, the album gets going with "Freedom." This is more chill with a groove. They're taking a swipe at superpowers not helping poorer nations. "If You Only Knew" takes it in a jazzy diection. Soul music they can relate to. It kicks in to a more traditional hip hop song in "Break." A bigger beat and multiple simultaneous rappers. Sampling "Love to Hate" by Burt and Franklin. And the sampling continues with "Urizen" by David Axelrod in "A Day at the Races."This has a deeper groove with a great bass line. Multple rappers including Big Daddy Kane and Percee P. The first single "What's Golden" keeps the groove and bass going. Sampling Public Enemy's "Prophets of Rage" and sounds somewhat like N.W.A. A cool echoing rapping chorus. Nelly Furtado contributes vocals to the more romantic song "Thin Line." Never a bad idea to sample Minnie Ripperton. Kool Keith contributes to the a capella "DDT." Sa-Ra Creative Partners produced "Hey." This is more soulful and ambient. I felt the Outkast vibe. The album concludes with "Acetate Prophets." Sampling 11 songs, noises and speeches. This goes all over the place: tribal, drumline, a flute, people screaming, Middle Eastern music, chanting. I like chaotic endings. This was an easy, smooth listen. I wouldn't say it breaks any new ground lyrically or musically but nonetheless I enjoyed its variety and sampling. Solid production. A decent record.

"Melodrama" is the second studio album by New Zealand singer-songwriter Lorde. Lorde retreated from the spotlight after her successful debut album "Heroine" and wrote "Melodrama" inspired by her disillusionment with fame and to capture heartbreak and solitude after her first breakup. The album was co-wrote with producer Jack Antonoff with the music piano-based, incorporating pulsing synths and dense electronic beats. Classified in the pop, electropop and art pop genres. The album had universal acclaim and commercially hit #1 in the US, Canada, New Zealand and Australia. A stark piano opens the first single "Green Light." Lorde with emotional vocals and she raps. The piano changes, a beat comes in and the song explodes. This is a great song and a breakup song at that with a green light to move into the future. "Homemade Dynamite" was co-written with Tove Lo. Slower with synths and a dance beat. More pop. About being at a party. Lorde goes straight-forward ballad in "Liability." Very emotional as she sings about people calling her a liability. "Hard Feelings/Feelings" is a medley with distorted synths and various industrial noises. The most experimental song on the album. Lorde's obviously not afraid of going there. "Writer in the Dark" is another piano ballad and another stark one. Emotion vocals and a baroque ending. About waking up in a stranger's bed but she'll love him even if he calls the cops on her. She picks it up on "Supercut" and brings the dance pulse. Catchy as the intesity builds. The album closer "Perfect Places" was inspired by the deaths of David Bowie and Prince. A dance beat, piano, synth melody, layered vocals. A big song with the production and instrumentation. I really enjoyed this album. Very high-end pop production and songs. Lorde's vocals are emotional, direct and personal. It's what I would call a 2010's pop album but there's also a lot of experimental elements taking it beyond that. She leaves no doubt she's beyond a one-hit wonder.

"Tea for the Tillerman" is the fourth studio album by English singer-songwriter Cat Stevens. The album is, of course, in the folk rock category and contains many of his best known tracks including "Wild World" which brought him world-wide fame. The song themes seemed to focus on spirituality and transcendence using various relationships to convey. The album reached #8 in the US and #20 in the UK. The album opens with "Where Do the Children Play." A nice acoustic guitar melody with the music and vocals building emotionally throughout the song. As the world gets built up with skyscrapers and gas lines, where do the children play? Stephens' classic chorus highlight his big one "Wild World." Great emotional vocal delivery. The Spanish-influenced guitar chord sequences. His words to a parting lover who wants to go out on her own. Piano start and strings add to "Sad Lisa." A sad song about a girl dealing with emotional issues. "Longer Boats" has vocal harmonization. Acoustic guitar and clapping hands. It was inspired by the first men on the moon and UFO speculation and to look closer at the beautiful things around earth. A start/stop acoustic guitar opens his other big song "Father and Son." His deeper voice describes an exchange between a father and son who wants to break away to start a new life. The album ends with the very short "Tea for the Tillerman." Just a piano and gospel backing vocals. At the day's end, there's still spirituality left. It's hard not to like this to some extent and I did. Two iconic songs. Emotional vocals. Lyrics with imagery and probably to some dual meanings. Mostly simple acoustic guitar music accentuated with piano and strings at times. Lots to like here.

"Sweetheart of the Rodeo" is the sixth studio album by American rock band The Byrds. It was recorded in Nashville and LA. with the addition of country rock pioneer Gram Parsons and a number of session musicians. The songs are mostly covers of country and folk songs. The album was originally conceived as a history of 20th century American popular music including country, jazz and R&B by vocalist and guitarist Roger McGuinn but was steered by Parsons to purely country. It is widely recognized as the first album of country rock and seminal in the progressive country genre. It did not do well commercially reaching #77 in the US. The album opens with "You Ain't Goin' Nowhere," a Bob Dylan cover from what would become his basement tapes. It has the distinctive Roger McGunn's vocals and Byrds' harmonization but the music is definitely country including Lloyd Green on the steel pedal guitar. Lots of steel pedal guitar on this album. We get a fiddle and banjo going on the traditional Christian hymn "I am a Pilgrim." Chris Hillman on the vocals. They cover The Louvin Brothers' "The Christian Life." McGuinn singing in a southern twang. Doing a better job than Mick Jagger tried to to do. JayDee Maness now on the steel pedal guitar killing it. The second side begins with a Gram Parsons' original (co-wrote with Bob Buchanan) "Hickory Wind," my highlight of the album. Parsons on lead vocals. Female backing vocals. Banjo, fiddle, piano and steel pedal guitar. It is a nostalgic song about climbing a tree as a child comparing to the perils and pursuing of fame. Parsons get lead vocals again on the Merle Haggard cover "Life in Prison." Dual simultaneous steel pedal guitar and piano solos. The album is bookended, closing with another Bob Dylan basement cover "Nothing Was Delivered." There's actually hints of rock as the song alternates between a rock beat and straight-forward country. The goods were failed to be delivered. We can only assume drugs. I woke in the mood for a bunch of waltzes and the wish was granted. This is what makes doing this random album challenge worth it to me; there's little chance I go back listen to and research the history of a Byrds' country album. Glad I did. Besides McGunn's vocals and the harmonies, there's little resemblance of The Byrds as you knew them. A complete transformation. Country rock???? This is country. The session musicians were great especially Maness on the steel pedal guitar. All the Parsons lead vocal and written songs were the highlights. Parsons would leave the band before the album was released on to other things. I know those things are upcoming in my future; I'm looking forward to that.

The randomizer sure didn't wait long to give me the next George Michael album. "Listen Without Prejudice Vol. 1" is the second solo studio album by English singer-songwriter George Michael. This album was a stark departure from his debut "Faith" being largely acoustic with a somber mood in both the lyrics and music. Produced by Michael himself, it is mostly ballads and folk-style songs. The album received mixed reviews upon its release and commercially was a disappointment to Michael. It did hit #1 in the UK and #2 in the US but did not do nearly as well as "Faith" which was the best selling selling album in 1998 in the US. Michael ended up suing Sony for not supporting him. A big majestic open for the first single "Praying for Time." Acoustic guitar. Orchestral background. A serious tone and Michael whispering about social ills and injustice. Not all the songs are somber, enter "Freedom!90." Uplifting. House dance music. Infectious. Swirling piano. A James Brown sample. We also got the gospel, soulful background vocals. The songs refers to past success with Wham! and takes a swipe at the music business. I knew I'd get another waltz today and that happens in "Cowboys and Angels." Piano and a classical intro. The beat has a bossa nova feel. The sax comes in and now it's jazzy. A love triangle as a girl likes Michael but Michael likes another guy. Michael samples both lyrics and the melody from the Stones' "You Can't Always Get What You Want" in "Waiting for That Day." He's clinging to the stupid mistakes he's made. "Heal the Pain" is another optimistic song. Acoustic guitar and percussion, maybe congas. Layered vocals. Michael wanting to help someone. "Soul Free" brings the dance back. Multple percussion, jazzy piano and a flute sound. Falsetto vocals. The sex is great but the relationship sucks and he can't escape. This is another very good album by George Michael. It is mostly subdued and somber songs but there are some uplifting ones which are my favorite. There's a decent musical variety too...pop, jazz, waltz timed, R&B, soul, gospel and bossa nova. Also, he leaves little doubt of his talent with the production, song quality and powerful vocals. Different than "Faith" but definitely worth a listen.

"Doogystyle" is the debut album by American rapper Snoop Doggy Dogg. The album was produced by Dr. Dre and was recorded and produced following Snoop's appearance on Dre's "The Chronic." It is one of the defining west coast hip hop albums being more melodious, synth driven and having funk-induced beats. It had mixed reviews upon its release but recognized for its lyrical realism and vocal flow and those lyrics deal with adolescent irges, casual sex, smoking pot and gunning down rival gang members. The album debut at #1 and was fastest selling hip hop album of all time. Splashing water and a girl in a bathtub open "Bathtub." People come in and the party starts. The heavy funk is prevalent in "G Funk Intro." It better be, sampling Funkadelic and Parliament. Featuring The Lady of Rage. We get the smooth Snoop vocal delivery in "Gin and Juice." Laid back. Chill. That weird eerie synth noise which pervades throughout the album. A party filled with sex, pot and alcohol. Hi! My name is Snoop Dogg. And speaking of who Snoop is..we get that in "Who Am I (What's My Name)." Female backing vocals. We continue to get the funk with more sampling of George Clinton, Parliament and Funkadelic. "Doggy Dogg World" is more soulful featuring Tha Dogg Pound and The Dramatics. A sampling highlight is the use of Isaac Hayes' "The Look of Love" in "Gz Up, Hoes Down." The album really introduces us to the laid back vibe of the Snoop persona. Very chill. Yes, it's gansta rap with the lyrics but the funk and Snoop make this more chill. A classic hip hop album and, yes, I was one of those people who helped it debut at #1.

"Natty Dread" is the seventh studio albums by Jamaican reggae band Bob Marley and the Wailers. It was their first album without Peter Tosh and Bunny Wailer. The lyrics are spiritually charged with many songs addressing political and social issues. There are multple songwriters listed due to contractual issues with Bob and he apparently did write all the lyrics. The album received wide spread critical acclaim and commercially reached #42 in the UK and #92 in the US. People screaming with the bass and percussion driving the music open "Lively Up Yourself." A bluesy-soulful guitar. Horns adding a jazz feel. The I-Threes are the three female background singers killing it here and throughout the album. A celebration of skanking, reggae and sex. An organ is the main melody instrument in "No Woman, No Cry ." A subtle reggae beat with the organ overriding with gospel. A nostalgic remembrance of growing up in poverty and the happiness of friends. The lyrics are credited to childhood friend Vincent Ford whom Marley said he would have starved if not for him. Optimistic and one of my favorite Marley songs. "Natty Dread" has horns and some more great reggae beat by the drums, percussion and bass. The I-Threes" repeating Natty Dread. About the Rastafari movement. The last two songs address political and social corruption while promoting Rasta. "Talkin' Blues" starts with an acoustic guitar and is a rock song before the reggae beat kicks in. More great backing vocals. The horns come back in the closer "Revolution." Guitar, percussion and we end very chill. This is a tremendous album. The bass. The backing vocals. Besides the reggae beat, there're influences of blues, gospel, jazz, soul and rock. Of course, that is the base of reggae. But, what is unique is the start of most songs which start in a different genre with a different instrument. The music and tone are optimistic even in the face of poverty and social/political injustice lyrics. Highly recommended.

"My Beautiful Dark Twisted Fantasy" is the fifth studio by American rapper and producer Kanye West. Kanye had retreated to Hawaii, a self-imposed exile after interrupting Taylor Swift's MTV video award acceptance speech. The album was mostly recorded in Honolulu with a host of producers (Mike Dean, No I.D., Jeff Bhasker, RZA, Bink, DJ Frank E. and Kanye) and lots of singers (Nicki Minaj, Rihanna, Jay-Z, Pusha T, Rick Ross, Kid Cudi, Alicia Keys, John Legend, Bon Iver and Elton John). The music is hip hop with a maximalist production incorporating elements of soul, pop, baroque, electra -symphonic sounds and progressive rock. The lyrics deal with his celebrity status, consumer culture, self aggrandizement and idealism of the American dream. The album is recognized as Kanye's best and one the best of the 2010's, debuted at #1 in the US and won the Best Rap Album at the Grammy's. The original album cover showing a naked winged female on top of a naked Kanye was banned in the US. The album begins with Nicki Minaj reading a Roald Dahl poem in "Dark Fantasy." Right away..big production, a lot going on. Original layered, echoing vocals of multiple artists. The music reminded me of NWA for some reason. About decadence and hedoism. The first single "Power" is dark. Repetitious tribal drumming with a Continent Number 6 sample. Chanting females amidst Kanye's rapping. And why not sample King Crimson's "21st Century Schizoid Man." "All of the Lights" has 14 vocalists and Elton John on piano. Horns. Percussion. Drum and bass beats. The vocals give this a pyschedelic feel. It's the narrative of a man with multiple issues including abusing a lover and prison. "Monster" has strings. Anytime you sample Napolean Dynamite, I'm in. Rappers after rappers with Nicki Minaj killing it. "Runaway" features Pusha T and has a great piano motif melody. My favorite music on the album. Addressing public opinion of him. Another highlight of the album is "Lost in the World" with its layered music and vocals. A dance beat. A gospel choir. Great vocals by Bon Iver and Alicia Keys. The album ends with "Who Will Survive in America" with all vocals a sample of Gil Scott-Heron from "Comment #1." A defiant beat and about African-Americans Ill-fated idealism of the Anerican dream. Really, the only song overtly political and not something about Kanye. This is quite an achievement. Each song is an adventure. The album requires and gets better with multiple listens....so much going on...big production, multiple and layered vocals and music, unque sampling selection. It's pyschedelic, freaky and grandiose. Yeah, easily one of the best albums of the 2010's.

"Arc of a Diver" is the second album by English singer-songwriter and multi-instrumentalist Steve Winwood. Winwood played all the instruments and produced the album. Soft-rock and blue-eyed soul. Yes, definitely. Critics had mixed reviews with the positive being him playing everything and distancing himself from his former acts with the negative being, well, kind of boring. Yes, definitely twice. The album was Winwood's breakthrough reaching #3 in the US and #13 in the UK. A synth and organ open the uplifting "While You See a Chance." Add a piano and we got the melody. Drums and congas on the beat. Easy listening. Don't let something pass you by and find romance. "Arc of a Diver" adds a guitar and bass. Smooth and more jazzy. Arc is the women and he is the diver. Clever analogy. Besides the first two songs "Slowdown Sundown" is the probably the best of the remaining songs. A slow beat. Winwood puts in just about everything in his musical arsenal. Piano. Acoustic guitar. An organ giving it some soul. A synth solo jam. Beat changes. "Dust" closes the album. A synth-driven song. Sort of sad with emotional vocals. He sleeps with her sometimes, still loves her but the dust still collects. I always put solo Steve Winwood in the OK category. This album maybe slightly above that. Maybe. Half of the songs didn't due anything to me sounding very late 70's/early 80's and not in a good way....synth-driven, sleek, soft pop/rock. Yuck! Age has not faired well. Some of these songs just plain sucked and didn't get better with repeated listens., But, the first two songs and singles are decent and in my opinion the only reason to buy/listen to this album.

"21" is the second studio album by English singer-songwriter Adele. The album has the Motown/soul influences of her debut "19" but adds elements of American country and southern blues. It explores themes of heartbreak, healing, introspection and forgiveness during and after the break-up with boyfriend which was happening during the writing and recording of this album. Adele collaborated with various songwriters and producers around the globe including Rick Rubin, Paul Epworth, Ryan Tedder, Jim Abiss and Dan Wilson. The album became the best selling album of the 21st century, won The 2012 Grammy for Best Album and the Brit Award for British Album of the Year. A strumming acoustic guitar and a pounding drum begin her big hit "Rolling in the Deep." Blues and gospel. Also, Adele's bluesy strong (and maybe over-the-top (maybe?)) voice. Written and recorded the day after an argument with her boyfriend. Well, there was at least one positive thing. "Rumour Has It" continues the thumping drums and bluesy tilt. A swirling piano towards the end. Aimed at her friends for gossiping. "Turning Tables" changes and slows things up. A ballad with piano and strings. Another song about a recent boyfriend argument. Her third single "Set Fire to the Rain" continues her in power ballad mode. Orchestral strings. Her vocals are more controlled...my favorite song thus far in the album for the restrained vocals. Her inability to let go. The album closes with the second single "Someone Like You." Another ballad with maybe her most emotional delivery. She found out her ex is now engaged, wishing him the best and trying to move on. The song was recorded at the end of the album's production. Yeah, this is Adele's album where I've heard most of the songs just by existing. The arrangements and production are great. I do like the change in styles jumping from blues to country to ballads to pop R&B. Her strong vocals can be a bit much for me at times and I tended to like the songs where she toned it down. Nevertheless, I liked the flow of the album from start to finish; a lot of other people in the world found something to like as well over the last decade.

"Remain in Light" is the fourth studio album by American rock band Talking Heads. It was primarily recorded, at the least the music, in the Bahamas with Brian Eno as the producer, his last with the band. The ideal was to record an album with mutual cooperation not just as David Byrne's backing band. And, the goal was to blend rock and African genres and they experimented with African polyrhythmns, funk and recorded instrumental tracks in loops - pre computer and sampling era. Maybe the most genres I've ever seen listed for an album: new wave, post punk, world beat, dance-rock, art pop, art rock, avant-funk, funk, afrofunk and pyschedelic funk. The album received universal acclaim, commercially reached #19-US and #21-UK and in 2017, the Library of Congress put into the National Recording Registry for its artistic significance. The first side is the rhythmic side. "Ahhh" and we're off with "Born Under Punches (The Heat Goes On)." Multiple rhythms. The scratchy, funky guitar. The synth and noise sounds. Byrne preaching, rapping, shouting. The pace picks up on "Crosseyed and Painless." That bass. The urgency and nervousness. Old school rap and based on Kurt Blow's "The Breaks" People were trying to read way too much into the lyrics and Byrne no, take it literally: people operating half-awake and on auto pilot. Let's speed it up even more and add horns in "Houses in Motion." The female backing vocals overlay and criss-cross Byrne's. Adrian Belew adds a crazily-weird guitar solo. An album deeper cut highlight. "The world moves on a woman's hip." Yep! The second introspective side opens with their single "Once in a Lifetime." Swirling keys and the bell percussions. A preachers' diatribe. We're moving water! I love the bass and synth funkiness and jazzy feel of "Houses in Motion." I have no idea what Byrne is singing, whispering and screaming about but I don't care. He's answering his own questions. The album closer "The Overload" starts eerily and ominous. Creepy guitar and Byrne's voice. Well, we are in prime goth and new wave time frame. They could have made this an entire album side. This is just an excellent album, always one of my favorite. It still sounds fantastic and original. That being said, I still like their previous two albums "More Songs About Buildings and Food" and "Fear of Music" just as good if not better. A great album run for them. Mandatory listening.

"California" is the third studio album by San Francisco indie rock band American Music Club. This music is an early example of Americana and alt country combining rock, punk, folk and country. All songs were written by vocalist and guitarist Mark Eitzel. The album opens with "Firefly." Slide guitar. Easy rock and you definitely get that alt country vibe you'd hear a few years later. He's losing a girl as she slips through. "Somewhere" is more rockin.' A great vocal chorus and a searing guitar solo to end the song. Eitzel delivers more sad, lonely songs in "Blue and Grey Shirt" and "Western Sky." More slide and acoustic guitars with the music creating a yearning atmosphere. They change it up a bit and go pyschedelic in "Highway 5." At this point, they needed to open it up and they did with some hard feedback guitar closing the final minute. I knew some Neil Young would show up at some point. This is a really good album. A lot of songs build slowly. It reminded me a lot of the Red House Painters and Silver Jews in that respect with the slowcore approach to songs. Very earnest, heartfelt lyrics and music. Maybe, they were a few years ahead of the Americana curve. But, who knows if this would have ever gained a widespread audience. Anyway, an album most everyone, I think, would like to some extent.

"Teenage Head" is the third studio album by San Francisco rock band the Flamin' Groovies. It must be my San Francisco week. Garage rock. You betcha! Mick Jagger said they did a better job of capturing the classic blues in rock and roll then the Stones did on "Sticky Fingers." A lot of similarities there for sure. "High Flyin' Baby" kicks things off with a very bluesy, Stonesy guitar. A Bo Didley beat. Great guitar riff. Raw and sloppy vocals. Alright! "Have You Seen My Baby?" is song written by Randy Newman. This rocks a little harder. Slide guitar. Rolling piano. Yeah, this could definitely be on "Stickey Fingers." The second side opens with the garage rocker "Teenage Head." A dirty sounding guitar and vocals. They threw a harmonica in. We have an Elvis sighting in "Evil Hearted Ada." Lead singer Roy Loney doing his best Presley. Reverb guitar. The album closes with "Whiskey Women." The song starts out slow with acoustic and electric guitars. This is country and blues and a sound that 90's alt-country acts (i.e. Uncle Tupelo) were aiming for. A vocal chorus that would not be out of place on a 70's Souther rock song. The pace picks up significantly and we got dual guitars jamming out to the end. Woah! A great song! Hey, is this the long lost early 70's Stones album that never was? Close your eyes and you might think so. This is bluesy, 60's garage and country. A lot to like. I don't know if this had a diect influence on anything in the future but you hear T. Rex, Black Crowes, 70's Southern rock and alt-country. An album that anyone who likes bluesy rock and roll will like a lot.

"Ray of Light" is the seventh studio album by American singer-songwriter Madonna. The album was a stylistic departure from her previous album as she incorporated electronica and techo-pop. She also covers various genres including ambient, trip hop, art pop, pyschedelic music and Middle Eastern music. Lyrics tend to be mystical as Madonna was studying Hinduism, Buddhism and Ashtanga Yoga and just had given birth to her daughter. The album received wide-spread critical acclaim including some calling it her best album and commercially did very well reaching #1 in 17 countries and selling over 16 million copies. Wind blowing opens "Drowned World/Substitute for Love." A downtempo ballad with her singing softly. A nice building guitar. Madonna is holding herself accountable for her life and fame and assessing her career. She goes straight uptempo techno-dance in "Ray of Life." A prominent guitar and modulating synths. A mystical look at the universe and how small we are. One of my favorite Madonna songs. She continues the dance going in "Nothing Really Matters." An ambient sound too. "Frozen" was the first single released. An electronic ballad with strings. About a cold and emotionless man. It does a good job of making you feel emotionally cold too. Her other singles are also ballads. "The Power of Good-Bye" is emotional and more techno. Loss and longing. "Little Star" continues in the electronic area and is about Madonna's dayghter. This album is very much ambient and chill. A spiritual vibe. Madonna's voice is fantastic as she had been taking vocal lessons for her role in "Evita." Overall, this is an excellent album and definitely if not her best near the top.

"The Pyschedelic Sounds of the 13th Floor Elevators" is the debut album by American rock band the 13th Floor Elevators. The sound of this album is pyschedelia, hard rock, garage rock, folk and blues. The music was notable for the use of the electric jug. And, it was the first album to use the word pyschedelic. "You're Gonna Miss Me" starts the album with a 60's sounding "Peter Gunn" guitar. Lead singer Roky Erickson letting out orimal screams. The kicker is that the amplified electric jug once Tommy Hall gets it rolling. That's an original sound. The next song "Roller Coaster" is darker with an eerie-sounding guitar which reminded me of U2's "An Cat Dubh." Weird noises. That jug. The drums come in, the pace picks up and the band is jamming. A great guitar solo at the end. The dark tone and eerie guitar continue on "Reverberation (Doubt)." A nice garage rock and pyschedelic mix here. "Fire Engine" is highlighted by Erickson's and the band's howling. "Let me take you to the empty place on my fire engine." That's a scary proposal coming from Roky. The album ends with "Tried to Hide." Harmonica taking this in a blues direction. The jug going full tilt. Throw in some cowbell. Cool 60's guitar progession. Well, this was quite the trip. Roky's screaming vocals are perfect for this music. Great pyschedelic/garage rock guitar by Stacy Sutherland. That weird electronic jug and noises add to the pyschedelia. Solid songs all around and an album worth going back to 1966 to listen to.

"I Should Coco" is the debut studio album by English alternative rock band Supergrass. Supergrass was formed after the breakup of The Jennifers who won a fan in Sam Williams while seeing them playing at gigs around Oxford and ended up producing their debut. The band's music took their influences of the Buzzcocks, The Jam, Madness and the Kinks and mixed it with three-cords and guitar punk. A decent description but also a major player in the Britpop scene. The album title is a Cockney rhyming slang for "I should think so." It did well commercially hitting #1 in the UK and has been their best selling album. An explosive "1,2,3" scream opens "I'd Like to Know." Cheerful. Fast-paced punk. The keyboards keeps the melody. A pyschedelic guitar bride. "I like to know where all the strange ones go." They keep it rolling in "Caught by the Fuzz." Reminds me of the Sex Pistols. It's based on a real-life event of lead singer Gaz Coombes who was arrested at 15 for pot. "Mansize Rooster," another single, takes it more in a pop direction but keeps the pace fast. Their biggest hit "Alright" has a bouncey piano. Very catchy. It's simply about discovering girls and drinking. I do remember this song in the US at the time. The bass becomes more prominent in "Lose It." This is more dramatic and guitar heavy. He's telling a girl to lose it. "Lenny" has a big guitar and quick drums. Five of these first six songs were singles. Towards the end of the album the band changes it up on a few songs which I found interesting. They goes bluesy in "Time." This is more guitar and hard rock driven. By far their longest song "Sofa (Of My Lethargy)" which written by the band jamming on the couch. And jam band it is. It's slower. Piano. Slide guitar. More chill and somewhat more in that Britpop style too. This is a really good album. Fast. Punk. Simple lyrics. Catchy music and choruses. Quick short songs..get in and get out. This was good album for a Friday funday.

"Beggars Banquet" is the seventh album in the UK and ninth in the US by English rock band the Rolling Stones. It was back to roots rock and blues, a departure from the more pyschedelic pop of their previous two albums. It was also more instrumentally experimental incorporating claves, tanpura, tabla, congas, Latin beats and African music. The album was the last with Brian Jones due to drug issues and the first with producer Jimmy Miller who would be a big part in their music over the next four years; this album marks the start of the Stones' "Golden Era." Due to Jones' issues, Keith Richards played most of the guitar parts. Commerially, it hit #3 in the UK and #5 in the US. The hypnotic African rhythms open "Symphony for the Devil." Jagger yelling. Keith Richards' guitar and Nicky Hopkin's piano are highlights on this and throughout the album. All band members on backing vocals; the most famous "woo-hoo"s in music? Jagger said the lyrics were inspired by French poet Baudelaire as they describe atrocities of mankind from the view point of satan. Richards' slide guitar, Hopkins' piano and bassist Bill Wyman bring it on "Jigsaw Puzzle." Some say this was the Stones' attempt at Bob Dylan's "Stuck Inside of Moblie with the Memphis Blues Again." Don't know about that but a song describing life difficulties for everyone. "Street Fighting Man" has a great goove, raga rock. Jagger forceful vocals as he describes the growing violence in the US and France of political events. The Stones take a more aggressive blues approach with a faster pace on "Stray Cat Blues." A searing guitar solo. Charles Watts' drumming. The closest thing to the the Stones jamming on the album. The album closes with "Salt of the Earth." Richards on lead vocals. Acoustic guitar. Piano. Jagger comes in on backing vocals. The Watts Street Gospel Choir also come in on backing vocals. Fantastic. A favorite Stones' song of mine. It's funny; the two big songs on this album "Symphony for the Devil" and "Street Fighting Man" are pretty much outliers compared to the rest of the album. They are great in their own right but the other songs are all blues-based with little wrinkles, whether it's instruments or rhythms, which separates them from other blues songs and other songs on the album. Richards' guitars and Hopkins' piano are exceptional. A great album and the first in a string of great albums.

"Pelican West" is the debut album by London new wave band Haircut One Hundred. It was produced by Bib Sargeant on the Arista label and the only one with lead vocalist and guitarist Nick Heyward who would leave for a solo career. The album reached #2 in the UK and #31 in the US. The album starts out strong with "Favourite Shirt (Boy Meets Girl)." Fast urgent guitar. Drums with congas. Horns provide the interlude and a nice sax solo. A nice pop song. A scratchy-sounding and xylophone, I believe, open "Love Plus One." A horn driven melody. Very catchy melody and vocal choruses. " A ring and a ring and a ring..." Hard to get out your head. So far, so good. Their third and final single "Fantastic Day" has a sultry sax and tambourine. Vocal harmonies and another nice pop song. The album continues with jazzy pop songs up until the last three songs. I thought I was listening to Talking Heads' "Speaking in Tongues" era music in "Love's Got Me in Triangles." The song hits a groove and fuses with the jazzy horns. An alternative, even heavy metal ballad, guitar opens "Surprise Me Again." This is more rockin' with a nice guitar melody. The band goes in a more R&B and funk direction on the album closer "Calling Captain Autumn." The horns are prominent. Heyward is even rapping. I hear Earth, Wind and Fire and Parliament influences. Never a bad thing. This is a pretty enjoyable album. The three singles are very good. I could take or leave most of the other jazzy pop songs. The album ends strong; it would have been very interesting to see where this band might have gone using these final songs as a template. Nick Heyward would leave so we never found out. He's had a long solo career. I've never listen to any of his solo stuff but something tells me it continued in a pop direction. Oh, well.

"Get Behind Me Satan" is the fifth studio album by American rock duo the White Stripes. This album was a change from their guitar-based previous album "Elephant" with more piano and acoustic-based melodies and rhythmic experimentation using instruments like marimbas: less guitar riffs and plays down punk, garage rock and blues to a certain extent. According to lead singer and guitarist Jack White, it has a theme of truth in the songs which is mostly told through relationships. The album was widely acclaimed and reached #3 in both the UK and US. Jack uses a falsetto throughout the opener "Blue Orchid." A fuzzed-up guitar driving the melody. The typical White Stirpes drum beat provided by Meg White. The song is about the devastation of something valuable and some think it's about Jack's break-up with Renee Zellweger. "My Doorbell" is piano soul with a prominent drum beat and actually one of my favorite drumming on any White Stripes' song. He's waiting for death. "Little Ghost" brings the bluegrass with a fast-paced acoustic guitar. Layered vocals. This is unique for them. "The Denial Twist" has hard piano notes. The classic Meg drum beat with a tambourine. I think he's giving advice to someone who's been dumped. "As Ugly as I Seem" also has an acoustic guitar and real nice melody. A slow song. Jack's best vocals on the album. A good deep cut. "Red Rain" alternates between a blues and rockin'-distorted guitar. It's goes soft-loud-soft (always a fan). No, not a Peter Gabriel song. All six White Stripes' albums are worth listening to and this is no different. These songs are slower than the typical White Stripes and I do like the variety of instruments carrying the melodies. I wish they could have flushed out some of the piano and acoustic guitar songs with a band but I guess that would be what Jack did with other bands and solo. There seems to be more there with the melodies he created.

Wow, did I need this today. "Superfuzz Bigmuff" is the debut EP and first major release by Seattle grunge band Mudhoney. The album was recorded in Seattle on the Subpop label with producer Jack Endino. The album title was named after the band's two favorite guitar effects: the Univox Super-fuzz and Electro-Harmonix Bigmuff. It initially sold poorly but was later acknowledged as a seminal record in the Seattle grunge scene. Guitar strumming as band kicks in opening "Need." Mark Arm's throttled vocals. A dirty sound with the guitar and music sounding very Stooges' like. Nirvana was in the room. There's so much he needs, he bleeds. The band goes punk on "Chain That Door." Fast-paced thrashy drums. A churning guitar. "Mudride" is slower, grungier. Steve Turner stretches those guitar strings. Here's the grunge and heavy feel. A wah-wah and distorted guitar layering: still my beating heart. There's no place to hide as he takes you on a mudride, baby. "No One Has" is back to fast paced. Great drumming and off-key guitar chord notes. "If I Think" starts off slow. It takes off and we got that soft-loud-soft thang goin.' It ends in Southern rock fashion. Why not? The last song "In 'n' Out of Grace" is just straight thrash metal basically. A Peter Fonda eulogy open from "The Wild Angels." More wah-wah and distorted guitar layering. This a pounding, great album. No halfway on this. They fuse the Stooges, Jimi Hendrix, punk and early-to-mid eighties thrash metal into something their own. Great guitar. Arm's lyrics and vocals are edgy (hell, the whole band is edgy), chaotic and strained. He's lived a rugged life and his plans are not to change. Put this record on now and wake your neighbors the fuck up. Tremendous album cover too.

"Songs from the Big Chair" is the second album by English pop duo Tears for Fears. New wave, pop rock, progressive pop and synth-pop. OK, plus they add elements from a number of other styles on this album. The album title was derived from the 1976 film "Sybil" where Sybil had multiple personality disorder and only felt safe in the big chair. Tears for Fears used this as analogy to being targets of the British press. Also, important is the thematic thread of primal therapy which pervades throughout this album and to some extent in every song. The band wanted a more outgoing album from their more introverted debut "The Hurting." Tears for Fears is Roland Orzabal and Curt Smith who play just about everything. It received generally positive reviews and commercially #1 in the US and #2 in the UK. The anthem "Shout" opens things. I remember hearing this first on a weekly Chicago WXRT which would feature new music from the UK. I knew this would be a huge hit once released in the US. Shaking bells and percussion. A synth flute. There's a Middle Eastern-sounding melody underlying at one point. Wow, a guitar solo. A song about protest and can be applied to primal therapy obviously as well. The classic synth melody highlights "Everybody Wants to Rule the World." An electronic drum beat. The human desire for control and power. That melody is still played all over the place today. "Mother's Talk" was actually the first single released. It starts with an African rhythm and then goes kind of techno. Roland does not like this song since they were purposely trying to sound like the Talking Heads. I don't know, I kind of liked it and the intent. There's a few jazzy pop songs on this album and one of those is "I Believe." Piano, horns. More along the primal therapy theme. A piano starts the dreamy "Head over Heels." Guitar, drums and a swooning chorus. I always liked this song and it might be my favorite on the album. This has very high-end production and sound. The producer was Chris Hughes. There's a lot going on (various noises) in each song. The word meticulous comes to mind. Yeah, it's pop but I heard elements of jazz, Middle Eastern music, African music, ambient, industrial and even prog rock. It's a very good album and one worth going back for.

"Head Hunters" is the twelve studio album by American pianist, keyboardist and composer Herbie Hancock. Jazz-funk fusion! Yep, in the highest order, pretty much the defining moment of. Hancock was looking for a new direction from his previous three albums, something lighter. No guitars were used, instead a Hohner Clavinet and funky grooves. Hancock brought in three new musicians (Paul Jackson-bassist, Bill Summers-percussionist, Harvey Mason-drums) alongside saxophonist Bennie Maupin who were collectively known as the Headhunters. The album was a commericial breakthrough for jazz-funk reaching #13 in the US. In 2007, the Library of Congress inducted this album into the National Recording Registry for its artistic significance. "Chameleon" opens the four-track album. A synth bassline, a bass with a guitar riff, drums and a funky groove. There's elements of both jazz and funk here. Weird keys come in sounding like outer space. Halfway through, there's a bass solo then jazzy piano, a dreamy alto sax and back to the initial bassline. "Watermelon Man" is a song reworked from Hancock's hard bop days. Bill Summer's memorable open includes beer bottles, a pennywhistle, shakere and handclaps. The bassline is quite originial and now the keys sound like a guitar. A horn....jazzy. "Sly" is dedicated to Sly Stone. This song is all over the place in a good way. By the way, the pace consistently picks up throughout this song. A more jazzy open. A funky synth. Maupin's sax solo. Hancock's piano solo. The album closer "Vein Melter" is a psalm for a friend's death due to a heroin overdose. It's slower and more jazzy especially with the sax. Keyboards driving the melody with an underlying piano. This album is the perfect mesh of jazz-funk, intimate yet laid back and groovy. There's improvisation, yet structured with the rhythmic structure. It is not only one of, if not the, best fusion album I've heard but also jazz and just overall albums. An album everyone needs to listen to.

"The Miseducation of Lauryn Hill" is the debut solo album by American singer and rapper Lauryn Hill. The musical style is described as neo soul and R&B with songs based in hip hop and reggae. That's a decent description although I didn't noticed a lot of reggae. The lyrics deal with Hill's pregnancy and turmoil with her former band The Fugees and has themes of love and God. It was one of the most acclaimed albums in 1998, received 10 Grammy nominations, winning album of the year and was inducted in the National Recording Registry for its artistic significance in 2014. Oh, and debuted at #1 in the US charts and has sold over 20 million copies. "Lost Ones" has a hip hop beat and scratching. Hill is rapping. It turns more soulful. Supposedly about former Fugee bandmember Wyclef Jean. "You might win some but you lost me." "Ex-Factor" slows things down a bit with a piano. Hill's singing now. Here's your neo soul. Female backing vocals (a key throughout this album). A nice guitar solo. Another song about Wyclef and also a love song I think. Lauryn talking opens the big one "Doo Wop (That Thing)." The music kicks in. Rapping. Singing. Layered vocals. Men and women are caught withn their own and each other's struggles. Mary J. Blige joins the party in "I Used to Love Him." It's slow with a hip hop beat. "Nothing Even Matters" is a slow R&B ballad. She duets with D'Angelo. "Everything is Everything" is dramatic with piano. And, none other than a 19-year old John Legend on that piano. It's R&B and the song builds. One of the best songs on the album. This album has a combination of R&B, soul, hip hop beats, funk and a little bit of doo wop. Hill is talking, rapping and singing. Layered vocals. The lyrics are personal. She uses guests in a few songs appropriately. They are there but this is Lauryn's album. Some hip hop albums have a slew of guests and producers. Not this one. Just taking this as a R&B album alone it's a very good album. With her multi-dimensional approach in the vocals and other musical styles, you can see why it was so influential.

"Untitled (Black Is)" is the third studio album by British R&B group Sault. The music is described as soul, R&B and funk. The band itself is a collective of people who make a mixture of R&B, house and disco and are led by songwriter, multi-instrumentalist and producer Inflo (Dean Josiah Carter). Accompanying the release, the band issued a mission statement (summarized) stating that as Black people of Black origin they are fighting for their lives, mentioning an RIP to George Floyd and those who have suffered police brutality and systemic racism and are focused on a change happening. So, this is a protest album but is also quite optimistic and positive. The album received wide-spread critical acclaim. The album is composed of 20 songs which are mostly short. "Out the Lies" begins things with people chanting. Piano and keyboards giving a soulful feel. A woman speaking and repeating "Black is..." and completing with multiple descriptions. "Stop Dem" has a drumbeat and women chanting, shouting and singing. And, a drumbeat is wobbly and eerily hypnotic. "Don't Shoot Guns Down" has a tribal drum beat with a woman repeating "Don't shoot guns down" in a very emotionless tone. Sirens in the background. Point taken. "Wild Fires" gets the dance groove going. A deep bass and hanclapping. It's the first song I would put in the R&B category. "Sorry Ain't Enough" continues the R&B. It's souful and gospel. Now, there's men harmonizing. This is a good song. Michael Kiwanuka contributes vocals to "Bow." More of a funky groove. An African beat and guitar. "Black" is more soulful and continues an African beat. And, we get a Carlos Santana-esque guitar solo. A goth synth and electronic drumbeat highlight "Eternal Life." Men and women harmonizing...very R&B and soulful. An optimistic tone..."Sun and life, everyday we shine." This is an album that addresses a number of issues on the first half with a very positive message given in the second half. These are short songs and get to their point. The music is soulful and the rhythms and percussions are more hypnotic and tribal. I guess from what I've heard I was expecting more dance. There are a few of those songs too. This is a unique album and quite a good one at that.

"CrazySexyCool" is the second album by American girl band TLC. TLC is Tionne "T-Boz" Watkins, Lisa "Left Eye" Lopes and Rozonda "Chilli" Thomas. A decent description of the music is hip hop beats, funk, deep grooves, propulsion rhythms and smooth production. The lyrics are cited as coming-of-age with themes of sexuality, romance and youthful optimism. There were personal issues during the recording with Lisa "Left Eye" Lopes' struggles with alcoholism and her relationship with football player Andre Rison. Multiple producers were used in the album including Sean "Puffy" Combs. The album was widely acclaimed, hit #3 on the US charts and has sold over 15 million copies. A hip hop beat and siren-sounding synth open "Intro-lude." A Tribe Call Quest's Phife rapping with TLC whispering. The first single "Creep" has a synth melody and is smooth R&B. A hip hop beat with some scratching. Nice multiple vocals. About infidelity. The last single "Diggin' on You" is a pop ballad. It's slower with a guitar, synth and drum machine. String sounds. "Red Light Special" continues the R&B ballad vibe. Some more strings. This reminds me of more of a 80's R&B song. Steamy lust..yeah! A drum beat, a wah -wah guitar and horns build the slow groove in their great "Waterfalls." It's funky with great vocal harmonies and choruses. Definitely, one of the best songs of the 90's. It's written about the illegal drug trade, promiscuity and HIV/Aids. The last song "Sumthin' Wicked This Way Comes" is a very good deep cut. Outkast's Andre 3000 starts rapping and he's coming for TLC. TLC answers with their confusion of love and how it's supposed to work. Groovy with the guitar. Great, soulful harmonization from everybody. Each of the four singles are bona-fined pop hits and great songs. They're sultry and sexy with great catchy choruses. The overall album is solid with high-end production. If you're looking to go back to the 90's for some good sounding R&B/pop, this would be it.

"Station to Station" is the tenth studio album by English musician David Bowie. This album is considered a transitional album with further developing the funk and soul from his previous album "Young Anericans" and incorporating electronic music and "German krautrock" which is where he would go in his future Berlin trilogy. The lyrics are associated with Bowie's preoccupation with Frederich Nietzche, Allister Crowley, mythology and religion and the songs are mostly love songs. Bowie was also heavily into cocaine at the time and he recalled almost nothing of the recording. This is the first album with the band core of Carlos Alomar (guitarist), George Murray (bass) and Dennis Davis (drums) which he would use for his next four albums. Guitarist Earl Slick and pianist Roy Bittan were also part of the album. This album is regarded as one of his significant works and commercially did well hitting #3 and #5 on the US and UK charts respectively. The first song "Station to Station" has two parts and introduces us to Bowie's "Thin White Duke" persona. A train noise and creepy piano, bass and guitar open the first part. It's a slow, hypnotic march. The song then changes picking up a groove. Hey, this is prog-disco now. The song is about stations of the Bowie's cross and not those stations you see at church. The first single "Golden Years" continues the groove with a guitar and beat. I find Bowie's emotionless voice fascinating. His rapping. His falsetto. A love song, I believe. And on the next song "Word on a Wing," we get the Bowie emotional voice. A majestic ballad with a piano melody and guitar in the background. This is a religious song and one Bowie wrote to escape from his role that he was playing in the movie "The Man Who Fell to Earth" at the time. A piano start and rolling bass begins "TV 15." Continuing the soul and an addictive chorus. The song is about the main character's girlfriend getting eaten by the TV. I have to say the background of these songs may be just as interesting as the songs themselves. "Stay" has a "Shaft"'like guitar. Funky bass groove. Dual guitars going off. The last song "Wild is the Wind" is a cover and an ode to Nina Simone. Bowie's voice is swooning, romantic and emotional. Another ballad and a tale of hopeless loss. This album is one Bowie's best and definitely in my top five Bowie. It has a unique combination of styles with funk, soul, electronic and prog. The band is tight with all instruments prevalent yet not one really dominating: no wonder he kept them together for his next albums. Bowie's voice is both emotional and emotionless. Some of the songs are dark with a paranoid edge. Yeah, this is one everyone should listen to.

"Aqualung" is the fourth studio album by British rock band Jethro Tull. The album was more acoustic than previous albums incorporating folk, blues, pyschedelia and hard rock and heck, I'd say even a bit of baroque. Some critics labeled this as a concept album with a theme of the distinction between religion and God; the band denies any intention of a concept album, and in fact, went over-the-top concept album as a response on their next album "Thick as a Brick." The album was produced by Terry Ellis and bandleader, lead singer, acoustic guitarist and flautist Ian Anderson. Commercially, the album did well hitting #4 in the UK and #7 in the US and selling over seven million copies. That heavy guitar riff and an evil laugh open the first side named "Aqualung" with a song of the same name. The song slows down with acoustic huitar and piano and then goes back hard and back and forth. One of the most classic rock guitar riffs and a guitar solo that really sounds like Southern rock. It's about and based on a photograph of a homeless man near the Thames. A flute, recorder and piano intro begin "Cross-Eyed Mary." Some more classic rock guitar riffs. Anderson at his most evil vocals. This character sketch is about a schoolgirl prostitue who prefers her lecherous men than other school kids. Aqualung makes an appearance too. The band goes more traditional folk on "Mother Goose." Acoustic guitar, flutes, recorders. A happy song after the first three fairly dark songs. The main character is just walking around London and making observations. Whereas songs on the first side are about specific characters, the second side "My God" is more "big picture" with direct or indirect religious overtones. Anderson's vocals come in strong on the second single "Hymn 43." Electric guitar and piano. Glory seekers who use God's name as an excuse for scarier things. A jazzy piano intro which picks up kicks the first single "Locomotive Breath." Some more memorable guitar riffs with one trying to sound like a train. We get both guitar and flute solos. Yes!!! A comment on population growth. And no, that train is not slowing down. I admit to not really ever giving Jethro Tull a deep listen. I guess I was expecting a more boring prog album but no, this is not that and is quite good. I didn't hear any filler and liked the mix of rock, folk and even the baroque. There are just some classic guitar riffs and well deserved classic rock staples. An album everyone should check out and I will check out more Tull.

"Something Else by the Kinks" is the fifth studio album by the Kinks. The album continues the trend towards eccentric baroque and music-hall influenced styles. The lyrics are observational and introspective. I guess it's week for interesting character sketches (see "Aqualung"). It was produced by American Shel Talmy although he left leaving leadsinger and guitarist Ray Davies to finish up. The album did poorly commercially, their lowest selling album up to that point, reaching #35 in the UK and #153 in the US. However, it had positive reviews and has since gained a cult status. People talking open "David Watts." It's a fast-paced song with the piano leading and a song about a schoolmate who lived a charmed life and based on a real life person who had a crush on Dave Davies. Speaking of Dave Davies, he takes over lead singer on "Death of a Clown." Chamber pop with some fantastic piano by Nicky Hopkins of Rolling Stones' fame. The decadent underbelly of a band getting old. Nicky Hopkins is on the harpsichord in "Two Sisters." There's strings and this is more baroque. The two sisters are Sybilla and Priscilla with one being more wild and the other a housewife and an analogy for Dave and Ray respectively. Dave brings the garage rock guitar on "Love Me Till the Sun Shines." It's rockin.' The organ comes in and we get an organ outro. The song title details the subject matter. "End of the Season" slows things down. Piano. Drums. Ray's crooning. Birds chirping ✔️. These guys are really struggling with this party lifestyle. The album ends with one of their best songs in "Waterloo Sunset." Acoustic and electric guitar. Great melody. Great backing vocals. A melancholy-sounding song as the narrator watches two lovers pass over a bridge and is supposedly a fantasy about Ray's sister running off with a boyfriend. The Kinks do a whole album on that subject in the near future. Great song. There's a lot to like to like about this album: the variety of styles - musical hall, baroque, pop, bossa nova, garage and pyschedelic rock and pop, the lyrics - interesting, funny, sardonic, sad, personal and story-like and the musicianship especially the guitars and Nicky Hopkins. At some point, I need to listen to all the Kinks' albums from their golden era in order, which this one falls into, to really see which one I like the best. So far, they've all been good.

"Maxinquaye" is the debut album by English rapper and producer Tricky. Tricky had become frustrated with his limited role in Massive Attack, found main vocalist Martina Topley-Bird, convinced Mark Saunders to produce and recorded an album in his London house. The music is described as groove-oriented, downbeat, ambient and hazy with genres of trip hop , electronic, experimental and post rock. The lyrics have themes of cultural decline, dysfunctional sexual relationships, fears of intimacy and recreational drug use. Yeah, OK, I mostly heard the sex and drug parts. Commercially, the album hit #3 in the UK and is credited as a significant influence on electronica, underground hip hop and British hip hop. "Overcome" starts off with a haunting, ominous synth. Downbeat for sure. Random pounding noises. Martina comes in whispering. It's seductive in a hazy sort of way. Sex and violence. "Ponderosa" has a mechanical nose beat. A variety of noises. We finally hear Tricky in the background. Martina going on about drugs. Hey, a Public Enemy cover in "Black Steel." This is more rockin' with a guitar and breaks up the downbeat. Tricky takes the lead in "Hell is Round the Corner." He talks in a sinister way. This is chill and ambient. Dusty record sounds in the background...always a plus for me. His personal struggles with drugs. The first single "Aftermath " continues the chill. Synths - soft and loud. Good use of Marvin Faye and LLCool J samples. This sounds like the aftermath after sex. The album is ambient, downbeat and industrial. Of couse, trip hop. I thought the vocal style, mixing it with Martina and Tricky, was unique and interesting. They do a great job of effectively creating a haunting, eerie and paranoid atmosphere. I see the influences on ambient and trip hop. It kind of did get repetitive for me but overall a very good album.

"Goodbye and Hello" is the second album by American singer-songwriter Tim Buckley. Baroque pop and pyschedelic pop are the genres listed. I'll go with that and he throws in some other elements as well. The album was recorded in LA and produced by Jerry Yester and Jac Holzman. Tim was 20 years old at the time of the recording. Commercially, the album reached #171 in the US besting his debut. Cannon sounds open "No Man Can Find War." Acoustic guitar. Bass. Dramatic. Buckley's great tenor voice. An analogy to war and what's going inside one's mind..greed, arrogance. Piano, drums, pyschedelic guitar and congas begin "Pleasant Street." An urgency to this song and Buckley's voice explodes. A guitar solo. He's describing an acid head from Brooklyn. "I Never Asked to be Your Mountain" is about Tim's son Jeff and his estranged wife. A fast strumming acoustic guitar and percussion.The pace keeps picking up. Yeah, pyschedelic folk. "Once I Was" slows things up and adds a harmonica. It's melancholy. Someone is wondering if the person/thing who used to be a lover feels the same way. Hey, why not throw in some traditional Irish folk and he does that in "Phantasmagoria in Two." Great name. And, we have a flute. It took awhile, but here comes the baroque pop in the last two songs. The closer and first single "Morning Glory" describes compassion for a hobo even though he is doing nothing for him. Piano. Strings. Choir-like backing vocals. It's a very pretty song. This music is dramatic and beautiful. Lots of instruments. Buckley has a great voice...emotional, the range and soaring at times. The lyrics use imagery and are personal (most co-written with Larry Beckett). The music styles are folk, rock, pop, pyschdelic, baroque and I heard Middle Eastern and Indian elements. This is a very good album and you see why his music remains very well liked to this day.

"Mask" is the second studio album by English goth rock band Bauhaus. Post punk, gothic rock, experimental. Yep, that all fits. This album expanded on their debut by adding keyboards, acoustic guitar, a funky song and a saxophone. Bauhaus is Peter Murphy (vocals, guitar), Daniel Ash (guitars, sax), David J (bass) and Kevin Haskins (drums, keyboards). This album was also self produced. An annoying laser synth sound leads to the drums kicking in which opens "Hair of the Dog." Ominous synths. The pace picks up. Murhpy's vocals end up in screams at the conclusion. Subjecting yourself once more to the one thing that causes you pain. It doesn't get much more goth than that. Bass and an idiosyncratic drum beat highlight the start of the first single "The Passion of Lovers." Edgy guitar and like the previous song, this song builds and Murphy explodes. A girl seeks passion and ends up dying. "Dancing" actually starts fast. A heavy, heavy bass groove. This is more rock. Ash's guitar has that classic post punk, high pitched sound. This song could have been on Killing Joke's first album. The band adds the funk with the drumbeat and bass on their second single "Kick in the Eye." Guitar sounds going everywhere. Very hypnotic. This reminds me a lot of David Bowie's "Fashion." I think he's looking for drugs. Some more ominous laser synth sounds open the closer "Mask." The beat plodding along. Murphy is moaning. A welding sound. Hey, maybe that plays into the song's meaning. Welding Mask? Idk. Midway through, they add a creepy Mike Oldfield "Tubular Bells"-"Exorcist"-esque guitar. This was already a creepy enough song and then you have to go there, eh? This music is dark, hypnotic and has a high creep factor. This album would be in chapter one, page one in your Goth Rock 101 book. The guitar is edgy, the drums and bass have a deep sound and Murphy's voice is perfect for this music. You could pretty much draw a straight line from mid-70's David Bowie to industrial music and Nine Inch Nails with Bauhaus sitting dead center in the middle. Oh, of couse, I liked this album.

"Felt Mountain" is the debut album by English electronic duo Goldfrapp. The music fits into the electronica, ambient and trip hop genres with influences of 60's pop and folk. The album was self-produced by Goldfrapp members Will Gregory (keyboards, string/brass arrangements) and Allison Goldfrapp (vocals, keyboards). Critically, the album was well-received and commercially hit #57 in the UK eventually in 2001. Their first single "Lovely Head" opens the album with Allison whistling. A drumbeat, ambient synths and harpsichord come in. Allison whispers, the synths become mysterious and eerie and this sounds like they were definitely auditioning for a song in the latest James Bond movie. That's a theme throughout. It's about being in love with someone who's not in love with you. They continue that seductive vibe in "Human." This time a mambo-style beat is added. Strings also. "Pilots" amps up the drama a bit. The strings and keyboards give the song a little more ambient feel. The music is perfect for the song's theme of floating in space. The self-titled "Felt Mountain" veers even more into dreamy ambiance. Mostly synths with a singular drumbeat and handclaps. Allison is mostly singing in a high pitch and making noises, no real lyrics, I guess creating an atmosphere as this song was inspired by the thought of a wolf trapped in a house and looking out in to a snowy landscape. Slow synth-piano keys begin "Utopia." What sounds like opera vocals in the background. Strings. The music and vocals build and get louder. A song about genetic engineering and fascism. The music on this album is seductive, mysterious and dramatic. I read that the album was supposedly written as a soundtrack. That's exactly what it sounds like. The music and vocals are perfect for the atmosphere they are trying to create and the lyrical themes ( love lost and more dreamy sci-fi subjects). There are a lot of similar sounding songs but they do mix it up with cabaret and a mambo-style songs. Overall, this kept my interest throughout.

"Ocean Rain" is the fourth studio album by English post-punk band Echo & the Bunnymen. The album was produced by members of the band, Gil Martin and Henri Loustau. To their post-punk and new wave sound they added a 35-piece orchestra and more acoustic guitar to the songs. The album initially received mix reviews and commercially hit #4 in the UK and #87 in the US. A strumming acoustic guitar and strings begin the second single "Silver." A melodic electric guitar. Lead singer Ian McCulloch delivers strong vocals. An exhilarating ending. I think it's about someone outside yourself that can free you, supposedly his wife. Guitarist Will Sergeant delivers an Eastern-style guitar in "Thorn of Crowns." The guitar and music sound like "The End" by the Doors. McCulloch is randomly yelping and he sounds like the lead singer from Suicide. Always a fan of the soft-loud-soft. McColluch said the lyrics had no meaning. But, it's still a pretty good song. "The Killing Moon" was the first single and has that classic guitar open with a prominent bass and drum backing. Sergeant said the guitar was inspired by a Russian balalaika. The seductive pace and mood. No one has control over death. The acoustic guitar takes the lead on "Seven Seas." An underlying electric guitar. A great vocal chorus and the strings take this into grandiose territory. McCulloch goes a capella at the start of the closer "Ocean Rain." It's a slow and dreamy song. The song gains momentum with the strings and guitar. A nice song. There's a lot to like on this album; the strings bring more drama. A prominent bass. Great drumming. The acoustic guitar is in the kead a lot. The electric guitar is underlying and melodic. McColluch's distinct vocals. Imagery in the lyrics particularly of water...lots of water. Ther's more here than just "The Killing Moon" but that alone makes this worth a listen.

"Kimono My House" is the third studio album by American rock band Sparks. Glam rock, art rock, progressive rock, pop rock and avant-pop. Yep, you could probaly throw in a few more too. The band relocated to the UK to record and take advantage of the glam scene. It work as it was their commercial breakthrough hitting #4 in the UK (#101 in the US). Sparks is essentially a duo with founding members and brothers Russell Mael (vocals) and Ron Mael (keyboards). The album was a shift in their sound being more pop and focused and had a new sound with a new band. It is considered one of Sparks' best work and best glam rock albums. The album opens with the first single "This Town Ain't Big Enough for Both of Us." A keyboard sounds like a piano, a glam rock sounding guitar and Russell's falsetto. A great guitar solo (there's a lot of these throughout). The beat changes. The protagonist keeps trying to ask women out but can't. A hypnotic guitar opens "Amateur Hour." A prominent bass comes in. The pace is fast and keeping getting faster. I think about growing up. We're off to a very good start. "Hasta Mañana, Monsieur" comes on hard. Pouncing piano keys. A very Bowie-esque glam guitar in the background. Nice melodies. These lyrics are hilarious; the guy is tangled up with talking to girls and foreign languages. A playful piano and bass open "Talent is an Asset." I think the rhythm section of Cheap Trick must have been here cause it sounds a lot like late 70's Cheap Trick. The album closer "Equator" is sultry with a mellotron sound like a sax. This is jazzy cabaret mixed with rock. Russell in his highest falsetto singing how horrid it is waiting for a girl to show up for a date. An interesting end with cross-criss lyrics/vocals with Russell and a girl. That girl might have been Russell? This album is unique, theatrical, dramatic and very good. Yeah, it's firmly in the glam rock genre but there's elements of cabaret, show tunes, rock, pop and prog. Of course, experimental. The pace is fast and charging. The musicianship is top notch. Everyone. The lyrics are interesting and at times very humorous. I heard Queen, Roxy Music, David Bowie, Cheap Trick and, yes, Rush in their music. I don't know if they influenced and were influenced by...doesn't matter. A high recommendation.

"Tom Petty and the Heartbreakers" is the debut album by American rock band Tom Petty and the Heartbreakers. Tom Petty moved to Hollywood from Gainsville, FL with his band Mudcrutch as they signed with Shelter Records. Shelter ended up dropping Mudcrutch but kept Tom Petty who formed the Heartbreakers after that. Besides Petty on vocals and guitars, the Heartbreakers include Mike Campbell (guitars), Benmont Tench (piano, keys, synths), Ron Blair (bass) and Stan Lynch (drums). Commercially, the band initially did much better in Europe after a tour and this debut hit #24 in the UK. It took a year after its release to reach #55 in the US. Their success would obviously change in the near future. A Bo Diddley drum beat and guitar begin "Rockin' Around (With You)." A long drawn-out pyschedelic guitar. Petty's typical nasally vocals. This is pretty raw knowing what'd they become. Well, then comes "Breakdown." A slow drum beat. The guitar riff and organ ooze in and out throughout the song. A bluesy vibe. Great backing vocals including Dwight Tilley. My favorite memory of "Breakdown" is when the Replacements covered and destroyed it in at a 1989 concert in which they opened for Petty. Before beginning the song, the Replacements' Paul Westerberg asked the crowd if they're all here to hear the Tom Petty shit and then said "We'll, here's a song we actually like." The closing band did a much better job. A pretty good rockin' song "Anything That's Rock 'n' Roll" closes the side. Speaking of Dwight Twilley, the guitar riff here is a dead ringer for his. "Strangered in the Night" has a cool and unique guitar riff throughout. Mike Campbell introduces us to the classic Heartbreaker sound. Maybe the most interesting thing here is the decision to close the album with "American Girl." Obviously, one of Petty's best songs. That guitar twang, the bouncey beat, the bass drop. A great guitar outro. And some of Petty's best lyrics as he describes a girl dreaming and comparing the sounds of the highway to that of being by the ocean. A stone cold rock classic. This album is a curious choice for the top 1,001 albums since it is Petty's only album in the challenge. Obviously selections should have been "Damn the Torpedoes" or "Long After Dark." Heck, even one of his first two solo albums. But, here we are. The majority of songs shows signs and the structure of what the songs would be in the future where they would be more fully formed and flushed with a band in more of a full-throttled mode. However, this album does have two of his best songs and best songs of that style and time. That alone makes this worth at least a listen.

"Lost Souls" is the debut studio album by British indie rock band Doves. Indie rock, dream pop, neo-pyschdelia, shoegazing, space rock. Yeah, all that eventually. Doves is brothers Jez (guitars) and Andy Williams (drums) and lead vocalist Jimi Goodwin. The album was recorded over a period of several years which included a fire destroying everything and following the dissolution of their original house music band Sub Sub. Commercially the album hit #16 in the UK and critically received mixed but mostly positive reviews. It was on the short list for the UK Mercury Prize. An instrumental "Firesuite" starts things off with dreamy synths and a droning guitar. This leads into "Here It Comes" which continues the dreamy atmosphere and sets the tone for the next several songs. Drowned vocals, singing about drugs. A piano and guitar outro. An acoustic guitar and a Peter Hook-ish bass breaks up the dreaminess somewhat in "Lost Souls." Goodwin's clearest vocals. The second half of the album brings a string of their singles. "Catch the Sun" brings the rock-pop, their most traditional straight-forward rock song and it's a good one. Acoustic and electric guitars. Catchy. A fading guitar and they rock out at the end. "The Man Who Told Eveything" continues the traditional pop sounds. Syths, acoustic guitar and an orchestral outro. A droning, shoegazy, feedback guitar highlights "The Cedar Room." It's slower and works even with its seven-minute length. A break-up song. This album is dreamy, melancholy and at times jazzy and electronic creating an atmosphere. Honestly, it took me a few listens to really get into it and I did ,appreciating the laid-backness and showgaze and reminding me of Slowdive and Spacemen 3. If you're into that, you'll definitely like this album. The three released singles are very good rock songs which most people will like.

"The Wall" is the 11th studio album by English rock band Pink Floyd. The album is a rock opera that explores the main character Pink, a rock star whose self-imposed isolation forms a figurative wall. Yep, not much more to say other than the members of Pink Floyd weren't really getting along at this stage and during the recording. Critically, it had mixed reviews initially and commercially, it hit #3 in the UK and spent 15 weeks at #1 and became the biggest selling double album of all time. An ominous guitar, thundering drums and an organ open "In The Flesh?" We learned the death of Pink's father occurred at a WWII battle. Things gets going a bit in "Another Brick in the Wall, Part 1" as Pink starts to build the wall. Guitar echoes. Helicopter sounds and a deep bass start "The Happiest Days of Our Lives" as Pink is tormented by teachers. That rolls into "Another Brick in the Wall, Part 2." That bass and groovy disco-esque beat. The chanting children. More tormenting and wall building. Someone not getting his pudding. "Mother" ends the first side. Co-lead vocals with Roger Waters and David Gilmore. Acoustic guitar as Pink remembers his oppressive Mother. "Young Lust" highlights the second side. Gilmore starts to really show up with some great chunky guitar riffs. Another Pink Floyd song with a groove. Pink learns of his wife's infidelity furthering him into his isolation. Eerie acoustic guitar and an electric piano on "Hey You." Gilmore on lead vocals. He's questioning his decision to isolate. And, by the end of the third side Pink's become "Comfortably Numb" as he gets injected with drugs. Strings and a great underlying melody. Not one but two Gilmore guitar solos. A classic rock song. The fourth and final side takes us through his hallucinatory state as he dreams of himself as a fascist dictator performing. The highlight of this side is "Run Like Hell." Gilmore's guitars are the stars again with echoing and reverb. Piano and strings are used more heavily in the remaining four song. Pink gets ordered out the wall in "The Trial" but the last song "Outside the Wall" repeats the melody and lyrics of the very first song and you realize poor old Pink is destined to repeat the cycle. It's been awhile since I've listen to this. Of course, I remember getting this when it came out. The hits are hits, still sound great as stand alone songs and within this story. Sure, there is a lot of filler here which should have been trimmed. The highlights of this album for me today were the overall dread atmosphere it creates and Gilmore's guitars when used. I'm sure everyone has their opinion on this which I'd imagine is all over the map.

"Manassas" is the debut double album by blues-rock group Manassas. Manassas was a super group of sorts led by Stephen Stills (vocals, guitars, various instruments) and included Chris Hillman (guitars, vocals) of the Byrds/Flying Burrito Brothers and various other session musicians. Each of the four album sides had a name and a different musical style which included rock and Latin, country, folk and blues and rock. The album was critically well received and commercially reached #4 in the US. Amazingly, when the album hit #4, a David Crosby/Graham Nash album and Neil Young's "Harvest" were also in the top 5. Side One is called "The Raven" and features rock and Latin sounds. "Song of Love" starts things off with a slide guitar, organ and congas. A nice guitar solo (plenty of those throughout). He's questioning the Vietnam War. "Melody- Rock & Roll Crazies/Cuban Bluegrass" was the second single released. Layered guitars. Lots of going musically. The song takes off and speeds up. The craziness of the musical business. Chris Hillman takes over the lead vocals on "Both of Us (Bound to Lose)." Electric piano, Latin beats. It's dreamy. One of the best songs on the album. Side Two is called "The Wilderness" and is country/bluegrass. A fiddle and harmonizing vocals on "Fallen Eagle." "So Begins the Task" has a steel guitar and rich harmonies. This song reminded me of "Marrakesh Express." Side Three is the folk-rock "Consider." It has the first single "It Doesn't Matter." This is more traditional rock...layered guitars and harmonies. Stills giving some of his opinions on Crosby and Nash. "The Lone Gangster" got my attention with its wah-wah guitar. Side Four "Rock & Roll is Here to Stay" is rock and blues and my favorite of the four sides. "Right Now" is the most rockin' song on the album. It has the fastest pace and sounds urgent. Slide guitar. Piano. I'm thinking hes taking swipes again at Crosby and Nash and former girlfriend Rita Coolidge. The album ends with a slow blues acoustic guitar number in "Blues Man." It's a tribute to Hendrix, Al Wilson and Duane Allman. This is a lot of music and is musically very busy with 7+ instruments going off sometimes simultaneously. There is a variety of styles but the constant for the most part was Stephen Stills' voice. That was kind of getting to me as were the CSN sounding harmonies. No doubt, the mmusicianship and song structure are top notch. The lyrics are strong. If you are Crosby, Stills and Nash fan, you should find this enjoyable.

"Feast of Wire" is the fourth album by American indie rock band Calexico. A good description of their musical style is a fusion of bluesy mariachi, desert-rock, jazz and experimentation. The two main members of Celexico are Joey Burns (vocals, guitar, bass, accordion, cello, mandolin and more) and John Convertino (drums, percussion and piano). Those two also produced the album with Craig Schumacher. The album begins with a waltz in "Sunken Waltz." Acoustic guitar, a drum beat and accordion. Trying to find space in the urbanization of their hometown Tucson. "Black Heart" has an eerie atmosphere and is very dramatic. A pedal steel guitar, mandolin and cello. It's a tale of the West..a criminal? An immigrant? I was wondering what a song titled "Not Even Stevie Nicks..." would be about and, well, not even listening to Stevie Nicks on the radio could stop him from jumping off that cliff. Compelling song. Burns with a tenor voice. They're covering some pretty heavy stuff so far lyrically. The second half lighten things up a bit lyrically and they cover different musical styles. "Across the Wire" has mariachi horns, an accordion and a steel pedal guitar. This is more country. About immigration. The next four songs are instrumentals which into Latin, Tex-Mex, blues and jazz category styles. The final song "No Doze" firmly put itself in the experimental category. Random drum beats and guitar strings. More steel pedal. Minimal lyrics which appear to indicate he's wandering in the desert. Appropriately, a long droning sound ends it. This album is dramatic, compelling and very good. It has a great flow, pace and mix of both instrumental and lyrical songs. It fits into many category from song to song...Tex-Mex, folk, blues, jazz, country and experimental. I'll be sure to check out more Calexico.

"Stardust" is the 22nd studio album by Willie Nelson. After jogging, Willie encountered his Malibu unknown-neighbor-at-the-time Booker T. Jones. They became friends and later recorded a pop standard song. Willie got the idea of recording and having Booker T. produce a whole album of songs from the Great American Songbook. His label, Columbia, was not very happy given Willie's outlaw country rep. Well, the album reached #1 on the Country Album Charts, stayed on those charts for over two years and hit #30 on the US Billboard Top 200. The album opens with the Hoagy Carmichel classic "Stardust." It's slow, the drumbeat. The Sparse guitar. A wobbly harmonica. Strings and Willie's voice. It's funny; this song starts like "Stairway to Heaven." I think Wille could do wonders with a whole album of Led Zeppelin covers. I don't think you can top Ray Charles on "Georgia on My Mind." But, Willie gives this his own soulful spin. Same thing with "Unchained Melody" and the Righteous Brothers. Willie doesn't need to; he takes it his own way and style. A nice laid back version of this with a harmonica, slide guitar and more strings. The focus of the second side is more jazzy. "Moonlight in Vermont" was the first song Willie recorded with Booker T. Heavy piano on this as with most of the songs on the second side. One of the best songs on the album and the closing one is the Gershwin's "Someone to Watch Over Me." Guitar, an organ, strings. The song seems to fuse jazz, country and soul. This album is a great interpretation of classic songs and is just a great album on its own. The production, pacing and arrangements are perfect for Willie's voice giving him a lot of space. And Willie's voice...the strength and emotion. I read that Willie used to be known for Willie's country songs but after this just Willie's songs. That's so true; there's no adequate genre description of this. It's just Willie.

"Very" is the fifth studio album by Pet Shop Boys. It was a shift from the subdued electronic pop of their previous album "Behaviour" to richly instrumented dance arrangements. Pet Shop Boys are Neil Tennant (vocals) and Chris Lowe (keyboards. Vocals). This is known as Tennant "coming out" album as he publicly discussed his homosexuality. The Pet Shop Boys produced the album and, commercially, it became their most successful album reaching #1 in the UK. A loud synth open begins "Can You Forgive Her?" Horn sounds, a pop beat, a synth catchy melody. Tennant with forceful lyrics. It's a about a young man's humiliation when a girlfriend accuses him of being in love with someone from his childhood. "I Wouldn't Normally Do This Kind of Thing" has a piano and more of a dance beat. Another catchy melody. An event in a person's life opens him up. "Liberation" is lush with horn sounds. It's a dreamy dance ballad. A Carribean beat of sorts. This album is off to a great start..three for three with great songs. Piano keys and a spacey synth begin "Yesterday When I Was Mad." It then changes with a faster, busier pace and electronic beats. This is different. The stresses of touring and being away from loved ones. A nice job of the music capturing the lyrical theme. "The Theatre" starts out in a majestic way with string sounds. Just beautiful and lush. About snobdom. Maybe my favorite song on the album. The album closes with a Village People cover "Go West." Electronic beat. Smooth. Creative background vocals mimicking the Village People. This reinterpretation is like a theatrical production and a lot of fun. This is an excellent album. It's extremely well-constructed and crafted....great production and pop of the highest order. No bad songs or filler. There's a variety of beats with mutliple sounding instruments including horns, piano, strings and synths. Lush is a apt description. An album that apparently got lost in the US with all the grunge at the time. One worth going back for.

"If You're Feeling Sinister" is the second studio album by Scottish indie pop band Belle and Sebastian. Chamber pop, chamber folk, indie rock, twee pop. Very interesting genre descriptions and appropriate. This album was recorded quickly after their debut "Tigermilk" in the same Glascow studio, CaVa Studios. The band signed to the Jeepster label which gave them more artistic freedom...no singles released. This particular album was very well received and is often ranked among the best albums of the 90's and many think their best album. An acoustic guitar opens "The Stars of Track and Field." It's melodic and builds and then slows down. A trumpet is added. It's about a girl who is a track and field star and all the boys like her but she may not like them. "Seeing Other People" continues the nice melodies with layered piano and strings. I think it's about gay experimentation. "Like Dylan in the Movies" was written about lead singer Stuart Murdoch's paranoia of walking through the park. Drums and bass are more prevalent. A guitar solo. Piano and strings. Great vocals by Murdoch. "Get Me Away from Here, I'm Dying" is more in the folk vein. Murdoch's lyrics are brilliant as he seems to be fed up with mundane life as he looks out of window. Voices of children playing begin "If You're Feeling Sinister" and stay in the background throughout the song. A piano, guitar, bass and drumbeat carry the fast pace. The story of two people looking to the church but not finding answers. Strings add to an overall melancholy feel. The album ends with "Judy and the Dream of Horses." Acoustic guitar. Bass. Drums. A trumpet comes in and the pace picks up. A sad song of Judy who only feels good when she's sleeping. This is an excellent album. It does fit within several genres but is mostly chamber pop and folk. The layered melodies are great with multiple instruments including guitars, piano, strings, harmonica and a trumpet. Murdoch's soothing vocals and very creative lyrics. Beautiful sounding songs. Yeah, one of my favorites from the 90's.

"L'eau rouge" is the second album by Swiss industrial rock band the Young Gods. Industrial rock, dark cabaret and symphonic metal are the listed genres. I like those descriptions. The Young Gods bandmembers are Cesare Pizzi (keyboards), Use Hiestand (drums) and Franz Triechler (vocals). This album is considered their masterpiece. Interestingly, the band decides to open with a waltz in "La fille de la mort" ("The Daughter of Death"). Didn't see that coming and not the last one. There's a droning organ and synth strings. Lead singer Franz Treichler is screaming. The song changes near the end and goes chaotic with the keyboards; they do that a lot throughout the album. "L'eau rouge" ("The Red Water") is dark with a hypnotic drumbeat. Franz with a creepy voice. The song speeds up and again goes chaotic, this time a guitar added. The drums are all over the place. The second side opens with "Longue route" ("Long Route"). Alright, this is more like it. A thrash metal guitar. Pounding/thumping drums. Random gunshot sounds. More metal guitar. Rumbling drums and a slashing guitar welcome us to "Les enfants" ("The Children"). Weird and dramatic synth sounds. The guitar and synth echo each other. I don't what he's doing or saying but it doesn't sound good. This was fairly intense. I like intense. I'm a fan of late 80's/90's industrial music and bands like Ministry and NIN and this fits that. They add a little variety with the waltzes, thrash metal guitar and drumbeats. Recommended for metal/industrial music fans.

"Junkyard" is the third and final long play studio album by Austalian post-punk band The Birthday Party. Post punk and punk blues. If chaos was a musical genre, I'd add that too. The lyrics were inspired by American Southern Gothic imagery and deal with extreme subjects such as murder and heroin. The Birthday Party bandmembers are Nick Cave (lead vocals), Mick Harvey (guitar, sax, bass, drums, organ), Rowland S. Howard (guitar, sax), Tracy Pew (bass) and Phil Calvert (drums). A slow drum and percussion and an eerie guitar open "She's Hit." A plodding pace. Random percussion sounding like gunshots. Cave moaning/screaming. She's hit, a woman dead. The bass drives "Hamlet (Pow, Pow, Pow). A pounding beat. More chaotic and high-pitched guitar. Cave growling and yelling pow, pow, pow. "Kiss Me Black" actually starts out like a normal rock-punk song. Bass and tin-can drums. It starts and stops. Cave mumbling throughout. I made out something about a murdered daughter. ""6" Gold Blade" has a plodding bass, random guitar noises. This time it's about killing a girl. The album ends with "Junkyard." The instruments are seemingly on their own. The guitar sounds like it's getting tuned. The drums are making random noises. Cave becoming increasingly more intense as the song progresses. Yeah, it's about heroin. This album took me awhile to get into. On paper, I should love this but it took some time. I did gain an appreciation. This is unique and has a scary atmosphere. Nick Cave growls, howls, talks, mumbles, screams and is mostly unintelligible. At times the instruments sound like their being played randomly. It took my second listen to grasp the melodies. If you like Suicide or experimental music, this might be for you.

"Kala" is the second studio album by British hip hop artist M.I.A. Dance, world, hip hop and pop musical genres. The album was primarily written and produced by M.I.A. and Switch. Other producers listed include Blaqstarr, Morgan's, Diplo and Timbaland. It was recorded in numerous places including India, Angola, Trinidad, Liberia, Jamaica and Australia. She wanted to record in the US with Timbaland as the producer but had visa issues related to her parents connection with guerrillas in Sri Lanka. Oh, that might come up in a song. The music relied heavily on Logic Pro and had influences from South Asia with samples from Bollywood and Tamil cinema. Some of the lyrics have political themes related to the third world including immigration, poverty and capitalism. The album had widespread critical acclaim and, commercially, reached #18 in the US and #39 in the UK. "Bamboo Banga" begins things with a fast beat and M.I.A. with multiple voices. She begins a chant/rap. She repeats words that rhyme. A dance beat comes in midway through. I will like any song that samples the Modern Lovers' "Roadrunner." Tribal beats courtesy of the Indian urumee drums highlight "Bird Flu." A hypnotic beat. M.I.A. rapping. "Boyz" uses the urumee drums as well. Various noise samples including a pennywhistle. M.I.A. repeating "Na, Na, Na, Na." The song was influenced by her time in Jamaica and about being a female in the music industry. "Jimmy" brings the disco and dance club beat. A synth melody. Creative use of a Bollywood song. A song she used to dance to as a child. And a song that's a tribute to her Mother, whom the album title is named for. Speaking of creative sampling, without question my favorite sample use in any song is her sample of The Clash's "Straight to Hell" in "Paper Planes." Her rapping and singing. The combining of the beats, vocals, bump bump, camera and cash register into music. The song is about her problem with visas and the perception of immigrants. One of the best songs of this century in my opinion. This is an excellent album. A great fusion of world music, disco, hip hop and pop. The music is hypnotic, mysterious and danceable. Very creative use of samples...The Modern Lovers, Pixies, the Clash and Bollywood. A very high recommendation for all to listen to if you haven't and relisten to if you have.

"Bug" is the third studio album by Massachusetts alternative rock band Dinosaur Jr. Alternative rock, indie rock and indie rock are the named genres. It was the last album with bassist Lou Barlow until he came back to the band in 2007. Besides Barlow, other members of Dinosaur Jr. include lead singer/guitarist J Mascus and drummer Murph. The album received critical acclaim including a most interesting 8.9999999 rating out of 10 by NME. A melodic guitar and then bam! The bass and guitar kick in and they're soaring with "Freak Scene." The song ebbs and flows with soft and loud dynamics. Two monster guitar solos by Mascis harkening Neil Young meets Sonic Youth meets Bob Mould. You do hear a lot of monster solos throughout this album. Mascis' vocals define "slacker" rock. I think this is simply about two friends who don't want a romantic relationship since it will ruin their current friendship. "No Bones" features some real melodic bass by Barlow. This is slower but again speeds up in spots. Distorted guitar. "They Always Come" brings the punk. This fast and hard. Some more fantastic bass and drumming along with Mascis' distorted and feedback-riddled guitar. "Let It Ride" continues the fast and hard. You got to like the intensity these guys bring. And we get a bass solo along with a few guitar ones. They slow it up a bit on "Pond Song" and add an acoustic and layered guitars. Great drumming. The album ends with a wah-wah guitar going into "Don't." Barlow just screaming likes he's dying "Why Don't You Like Me" for five minutes. This song would not have been out of place on Hüsker Dü's "Zen Arcade." This was a big album for me when it came out. I used to just play the hard/fast songs which seemed to alternate throughout the album. I guess I've mellowed since I found a lot to like in the"so-called" slower songs. I don't know what I was listening to at the time to think those "other'" songs soft? Mascis guitar is just fantastic with his distortion, feedback and multiple solos within each song. One of the other things I realized on this listen was how good the bass and drumming is. This is a band. They need to be to keep up with Mascis. This album and music is connected to the prior music of Neil Young, Hüsker Dü, and Sonic Youth to what the future music would be in shoegaze and grunge. Yes, I like this album and so should you!

"Hot Shots II" is the second album by Scottish musical group the Beta Band. Electronic and rock are the listed genres. That's appropriate. This album was a change from their more experimental previous album to a more minimal style influenced by R&B, hip hop and electronica. I heard the electronica. It was produced by Colin "C-Swing" Emmanuel and the Beta Band. Commercially, it did well on the indie charts reaching #1 in the UK and #11 in the US. The album starts out with clapping and electronic samples in "Squares." An electronic beat, a synth and background piano. Very chill. Lead vocalist Steve Mason singing about dreaming and feeling numb...nothing can touch him. In "Al Sharp," they add a xylophone, string samples and a groovy bassline. Layered vocals. His girlfriend left him for Al Sharp and money. "Human Being" is the most rockin' song on the album. It builds with real drums, guitar and a jam outro. "Life" adds ominous strings, laser synths and a cowbell. Yes! It's about unrequited love with the last verse commenting on big corporation and the Iraqi War. The last song "Eclipse" brings in a droning and washout synth and piano. An electronic beat. Nice vocal harmonization. Books, pizza, questions and answers. Sounds like my life. The song is very chill and ends the album the way it began. This is a decent album. It reminds me somewhat of Radiohead's "Kid A" and the Flaming Lips' "Yoshimi Battles the Pink Robots" with its electronica aspect and concurrent albums at the time. There's nice harmonies. The songs build and usually have some aspect that's catchy. There's not a song the caliber of "Dry the Rain" but most of them are solid.

"The Velvet Underground & Nico" is the studio album by the American band the Velvet Underground and German singer Nico. Art rock, experimental rock, proto-punk, pyschedelic rock and avanr-pop. Yes and in many cases the defining example of that genre. The music has experimental aspects with controversial lyrics such as drug abuse, prostitution, sadomasochism and sexual deviance. The album was recorded in 1966 while the band was featured in Andy Warhol's Exploding Plastic Inevitable tour. The music of album was primarily produced by Tom Wilson with Andy Warhol also listed as a producer. The band consisted of Lou Reed (vocals, guitar), John Cale (electric viola, bass, piano, celeste), Sterling Morrison (rhythm guitar, bass), Maureen Tucker (drums , percussion) and Nico (vocals). The album initially sold poorly which prompted the famous quote by Brian Eno that "everyone who bought one of the 30,000 copies formed a band." It was also initially ignored by critics but later recognized as one of the most influential albums of all time. In 2006, the Library of Congress put it into the National Recording Registry for its artistic significance. "Sunday Morning" opens with Cale on celeste. Reed comes in singing softly. It's about paranoia. A charging guitar begins "I'm Waiting for the Man." It got a melody and beat. Jangly pyschedelic guitar. The guy needs his heroin. Nico joins the album on "Femme Fatale." Melodic guitar. A distorted feel with the highlight being Nico's lead and Reed and Morrison's backing vocals. A great ending in Nico's "Ooh ooh oh." This was written about about actress/model Edie Sedgwick. Cale has his electric viola droning in "Venus in Furs." Reed's guitar is weirdly tuned. This is pyschedelic. And, oh, about sadomasochism. Nico adding an emotionless voice in "All Tomorrow's Parties." Slow guitar, tambourine, viola and piano. Singing about the people at Warhol's "Factory." "Heroin" starts with a slow repeating guitar note. The rhythm guitar, viola and soft drum comes in. The song speeds up, slows down and finally ends chaotically with feedback and distortion. Just a brilliant song. Reed describing the feeling of a heroin rush. The last Nico vocal-led song is "I'll Be Your Mirror." Sort of a surf-sounding guitar and a tambourine. Lovely dual vocals by Nico at the end. This is a great album. Cale's unique electric viola. The distortion and feedback. The counter of Nico's haunting vocals and Lou Reed's. The pyschedelic guitar. Sometimes sounding of the 60's with the pyschedelic guitar and garage rock and others thirty years in the future with the distortion, feedback and musical notes. The influence is immense with future rock genre's punk, garage, post-punk, krautrock, shoegaze, indie and goth. Needless to say a must listen..

"Blue Lines" is the debut album by English electronic band Massive Attack. The genres listed are trip hop and British hip hop and it is actually considered the first trip hop album incorporating and blending elements of of hip hop with dub, soul, reggae and electronic music. At this point, the band members are Grantley "Daddy G" Marshall, Robert "3D" Del Naja, Adrian "Tricky" Thaws and Andrew "Mushroom" Vowles. Singing contributions were also made by Shara Nelson and Horace Andy. The album had widespread critical acclaim and commercially reached #13 in the UK. Wind and a downbeat temo open "Safe from Harm." Soulful vocals from Shara Nelson. A guitar break and rapping comes in. Nice sampling of Billy Cobham's "Stratus." "Be Thankful for What You've Got" gets a groove going. More soul and scratching. Based on a1974 song by William DeVaughan of the same name. "Unfinished Symphany" is downbeat. There's bells and this is more dance. A synth beat. "Daydreaming" has soft synth melodies and us dreamy. I got to think this is about drugs. The album ends with "Hymn of the Big Wheel"." There's wind sounds just like the album started. Dual vocals. Strings in the background. This is very optimistic sounding but it appears to be about being inevitably stuck in the wheel of fate. (This reminds me, I need to watch the latest episode of "Wheel of Time.") This album is nice and chill. It's not a busy album which sometimes hip hop can be. I defintely see its influences in the 1990's trip hop albums. It's a really nice album to listen to and would be perfect in the background while reading, working or doing just about anything.

The randomizer be not so random as Hal 2000 (randomizer nicknamed) offers up Massive Attack's second album "Protection." The album follows the previous album's structure with music being similar- trip hop and incorporating elements of hip hop/rap, R&B, reggae, synth-pop and electronica. It was quite as critically acclaimed as "Blue Lines" but did fairly well commercially hitting #4 in the UK and #18 in the US Heatseakers' charts. The album opens with "Protection" and Tracey Thorn from Everything But The Girl on vocals. The song builds slowly with the piano. More in the pop/R&B category. Sampling James Brown "The Payback." Nice song. "Karmacoma" takes it in a reggae direction. Talking/rapping. Rhyming "Karmacoma" with Jamaica. Alright, I'll give it to you. "Sly" has a seductive drumbeat. Scottish singer Nicolette on vocals. Strings in the background. This does sound like it belongs in a James Bond movie. We're met with "Exorcist"-sounding pianos and a constant Darh Vader breathing in "Heat Miser." Synths and a downbeat. Interesting. The album ends with live cover of the Doors' "Light My Fire." A lot going on with the synths. Scratching. Horace Andy and Daddy G on vocals. It does eventually get a groove going. Not sure this was necessary but they did it. This is a decent album. I can't say as groundbreaking as "Blue Lines." It's more laid back and adds more elements of jazz and reggae. It you're a trip hop fan, you'll like this.

"Timeless" is the debut studio album by British electronic musician Goldie. The genres are jungle (dance music with rapid backbeats) and drum and bass (similar description to jungle). It is considered a groundbreaking release in the history of drum and bass music. The album incorporated lots of sampling (I think it would have taken me a week to find all the samples). The production was by Goldie and Rob Playford who also did the programming. Commercially, the album reached #7 in the UK. The 21- minute "Timeless: Inner City Life/Pressure/Jah" opens the album. Dreamy and ambient synths and a soothing women's voice begin the journey. Multiple rapid beats kick in (Ah, this must be the jungle and drum and bass). Random synth noises come in. The song goes back to ambiance and back and forth with the rapid beats. Remember they've got 21 minutes. Quite epic and never boring. "Saint Angel" takes it straight to industrial with heavy guitar samples. More rapid drum beats throughout. A sample of the Commodores "Kiss the Sky." Hmmm, never thought a Commodore sample and industrial would work but it does. "Sea of Tears" starts off with ambient synths and a jazzy guitar. Similar to a few of the previous songs, the rapid beats are added. Given the song title, why not add wave and seagull sounds. More soothing female vocals. By the way, "Sea of Joy" is my favorite Blind Faith song...no similarities here though. "A Sense of of Rage" begins the second half. A combination of ambient and more ominous-sounding synths. Sci-fi noises which I started to hear at the end of the first half. The drum beats are heavy, deeper, bassier. I like the change of pace. Ambient synths and light bird noises begin "Angel." Dual and layered female vocals. The rapid drumbeat is more dance. The song switches between the ambiance and dance. And they bring in the sci-fi syth midway through. Ah, things are coming together. The album ends with two edited versions of "Inner City Life." The "Baby Boy's" edit has slower beat and more bass. The "Rabbit's Short Attention Span" edit is more aggressive with the beat and random noises. The beat almost Caribbean. Both have the female vocals and ambient vibe. There are three different versions of this album: 2CD's , casetter/CD and vinyl. I listened to the 2CD version clocking in at nearly two hours. A long listen but worth it. They threw in a lot of variety with jazz, ambient, industrial, soothing female vocals and various synth sounds. It is a creative mixture of musical styles and sampling along with the rapid beats either in the background or forefront. I don't know anything about the jungle or drum and bass genres but if this is a prime example, I'm a fan.

"Blues Breakers" is the debut album by English blues band John Mayall & the Bluesbreakers with guitarist Eric Clapton. After the release of Mayall's first album, Eric Clapton joined the group leaving the Yardbirds. The album was originally planned to be a live album but ended up recorded at Decca Studio in London. It is credited with helping pioneer a guitar-dominated blues rock sound with Clapton's guitar guitar tone very influential in future commercial rock-style guitar playing. Besides Clapton on guitar, the band includes John Mayall (vocals, piano, organ, harmonica), John McVie (bass) and Hughie Flint (drums). A horn section is added in the second half of the album. Of note, the album title as well as Clapton's guitar are nicknamed "The Beano" after the album cover where Clapton is pictured reading "The Beano." The album opens with a cover of Otis Rush's "All Your Love." A bluesy rhythm section. Background organ. Mayall's strong vocals. It starts slow then picks up pace. Clapton's guitar both having rhythm and lead aspects. A searing Clapton solo. Let's get this out of the way. Every song has a searing Clapton solo, so no more mentioning of them. They are all great. "Little Girl" has a quicker pace. A Mayall original. I like the melodic tone of Clapton's guitar both in the chorus and solo (Oops, last time). "Double Crossing Time" features the piano and has a stomping bluesy groove. One of my favorite songs on the album. The second half adds horns which kicks off with "Key to Love." This is a bouncey song. Lest we forget that John Mayall is one of the best harmonica players, the band covers "Parchman Farm." Never a better blues subject than spending time in the state pen. Some more great rhythm section playing. A bouncey feel. Horns start off "Have You Heard." This is slower. Great interplay between EC's guitar and the horns. Eric Clapton's guitar playing, guitar solos and especially his guitar tone are all spetacular. But, there is more here. The rhythm section is tight. Mayall's harmonica playing and vocals are top notch. There's variety in their blues approach using horns, an organ, a piano or a harmonica with EC's guitar. This is rightfully put up with the best-ever blues rock albums.

"Live!" Is a live in-studio album by Nigerian musician, bandleader and composer Fela Kuti and his band Africa '70 along with English band Cream's drummer Ginger Baker. The album is four songs mixing African and funk rhythms. It was recordered at Abbey Road in London. Along with Fela Kuti on vocals, the Hammond organ and percussion, the Africa '70 included two trumpets, two saxophones, guitar, bass, drums, sticks, skewered and three congas. Ginger Baker played percussion on two of the four songs. Fela Kuti gives a vocal introduction to the first song "Let's Start." He actually does this for all four songs. Right away, it's funky with horns and sounds right out of New Orleans. Congas and percussion come in with a more African beat. There's solo and multiple horns. The keyboard in the lead. One thing that's constant is the beat. Minimal vocals. Horns start "Black Man's Cry." Again, a New Orleans feel. Very busy percussion and very hypnotic. Trumpet and organ jams. More jazzy and more vocals. Fela introduces Ginger Baker on "Ye Ye Smell." This is the funkiest song yet and has the best dance beat. It's polyrhythmic. So much so, I have no idea what Ginger Baker is doing. Subtle organ and horns lay the jam. "Egbe MI O (Carry Me I Want to Die)" has a clearly heard bass and is organ dominated. They're chanting la-la la-la. This album was easy to get into; long jams with hypnotic rhythms. A good fusion of African beats, jazz and somewhat soul...I heard New Orleans as previously mentioned. I don't know the use of Ginger Baker besides a marketing ploy. This band is not missing percussion expertise; their main drummer Tony Allen was a great and established drummer. Anyway, I know this band has other highly regarded albums which I need to check out. This one is pretty good and worth a listen.

"461 Ocean Boulevard" is the second solo studio album by English musician Eric Clapton. It was his return to the studio after a three year hiatus dealing with his heroin addiction. The studio was in Miami and the album title was the address of the house he lived in during the recording. A decent generic description of the musical styles is songs ranging from bright blues rock to sentimental ballads. There's also a good split of covers and originals. Commercially, the album hit #1 in the US and #3 in the UK. Layered guitar riffs opens "Motherless Child," a Blind Willie Dixon cover. Rolling drums. EC on the slide guitar. Another cover "Willie and the Hand Jive" gets the groove going. A good song to get that laid back vibe that pervades throughout this album. Oh, we'll just keep on with the covers and this one a big one in Bob Marley's "I Shot the Sheriff." I remember when this came out; how could you miss it, it was everywhere. The reggae groove. The guitar and piano. Great backing female vocals. We get a whole bunch of that on the second side. A slow acoustic guitar and EC whispering begin "Let It Grow." A nice melodic guitar. One of the stars of the album is the vocals of Yvonne Elliman. Just outstanding on this. There's more of a tougher guitar riff in the album closer "Mainline Florida." Some more great backing vocals. A great groove. It appears to be simply about recording in Florida. I forgot how solid an album this is. Sure, you do not get the guitar highs of EC with John Mayall or Derek and the Dominos but there's plenty here to like. It is a laid back vibe and maybe it's the time it was recorded. The band is tight. Yvonne Elliman's vocals are great. EC does use acoustic, slide and layered guitars. An album worth checking out or re-checking out again.

"Exit Planet Dust" is the debut album by electronic music duo the Chemical Brothers. Big beat, electronica, pyschedelia and acid house. Well, definitely big beat. The Chemical Brothers are Tom Rowlands and Ed Simons who were formerly known as the Dust Brothers but had to change their name which led to the the title of this album. The album stayed on the UK charts for a long time (charting sometime each year from 1995 to 2000) and peaked at #9. Heavy synth pounding opens "Leave Home." A funky guitar. The beat comes in. Random laser sounds. Good sampling of Blake Baxter's "Brothers Goona Work it Out." This rocks pretty hard. A Dead Can Dance sample starts "Song to the Siren." A normal melody. Various sounds..sirens, rattling. The beat changing throughout. They uses synths sounding like guitars in "Chemical Beats." Bombs dropping sounds. The song builds up intensity to get a payoff..a common tactic used in current EDM shows (that I've seen). "One Too Many Mornings" has wobbly synths and more of a pop beat. Excellent sampling of two Swallow songs for the melody. Very chill and a nice song. We're back to the heavy beats in "Life Is Sweet." The Charlatans UK's Tom Burgess in lead vocals. Hypnotic synth songs and the closest song to a traditional pop song on the album. The guest lead vocals don't end there as the album closes with "Alive Alone" and Beth Orton. The beat is slower with a nice sounding melody. Hey, this juxtaposition of Beth Orton and electronic music works. This album is mostly all about the beats. But, it's funky and rocks hard at times. It's also hypnotic and uses that previously mentioned current EDM tactic of building, building, building to the musical payoff. The guest vocalists song change the pace. I think mostly everyone would like this album to some extent especially those into electronic music who probably already label as landmark status.

"Heartattack and Vine" is the seventh studio album by American musician, composer and songwriter Tom Waits. It was also his final album with the record label Asylum. Some critics considered this his transitional album pivoting away from more jazzier arrangements towards a weirder and wilder mode. A buzzed-out electric guitar opens "Heartattack and Vine." Slow drums. A horn at times giving a jazzy vibe. Waits howling. Seeking what makes you feel good, no matter the consequence. "Jersey Girl" is a song Waits wrote for future wife, a simple love song. Slow. Melodic guitar. The drum top hat. Strings and bells. The Waits' voice meter is somewhere between a howl and singing. A emotional, cathartic end to the song. Strings and piano open "On the Nickel." This is a ballad with Waits in singing mode. Great building in intensity. It's about LA, specifically the homeless in LA. Waits takes the persona of gangster Bugsy Siegal in "Mr. Siegal." He comes in loud and aggressive. This is blues with the piano, drums and guitar. The album closes with the melancholy and sentimental "Ruby's Arms." Intro horns and strings fade into piano and Waits whispering. He's saying goodbye to a lover before the sun comes up. Great song. I've always found Tom Waits' albums entertaining and this falls in that category too. Compelling story telling. I'd say more straight-forward songs; I didn't find any weird or wild ones. There's jazz, blues, rock and some outstanding ballads. I know some people find Waits' voice very annoying. I've always found it fascinating almost another instrument. Anyway, if you're a Tom Waits' fan , you're sure to like this.

"Guero" is the ninth studio album by American musician Beck. Influences for the album were the September 11th attacks, the death of friend Elliot Smith and an impending child with his girlfriend. It was produced by the Dust Brothers (Joe King and Mike Simpson) and Beck. Güero is Mexican slang for a blond-haired Californian. Commercially, the album did well peaking at #2 in the US, and, critically, the album had generally positive reviews. A heavy guitar and loud drums open the first single "E-Pro." Electronic beats and a loop guitar riff. Sampling the Beastie Boys "So What'cha Want." "Qué Onda Guero" has Beck rapping.This is more along the lines of hip hop. He's describing LA and there are various, random street sounds/noises and actually a little bit of a Latin vibe. "Girl" has a synth melody. An interesting unique acoustic guitar interlude. Beck repeating "Hey, my sun-eyed girl." The third single "Hell Yes" has a deep bass and drums. There's a groove. Scratching going on. Beck back to rapping. Distorted vocals through the vocoder. And, yes, Christina Ricci also on vocals. Another guest appearance with Jack White on bass in "Got It Alone." Funky. Handclaps and drums. A buzzed-out guitar comes in midway through. He'd rather walk it alone. This is a decent album. I'm a little surprised in its inclusion in the 1,001. It's defintely not at the level of the two previous albums I had, "Sea Change" and "Odelay." But, hey there's variety here with rock, blues, hip hop and rap. There's really no bad filler. The singles are decent and for them worth a listen.

"Stankonia" is the fourth studio by American hip hop duo OutKast. Outkast is André 3000 (André Benjamin) and Big Boi (Antwan Patton). The music is expansive incorporating funk, rave music, pyschedelia, gospel and rock into hip hop. The subject matters include sexuality, politics, misogyny and African American culture. The album was produced by Earthtone III (Outkast and Mr. DJ) and Organized Noise. Commercially, the album debuted at #1 in the US and critically had universal acclaim. "Intro" kicks off the album with a guy talking about going to Stankonia where all good things come from. Random city noise samples. This transitions into "Gasoline Dreams." Heavy guitar in the forefront and background. A slower beat. He's assailing the "bling" aspirations of the contemporary black culture. The third single "So Fresh, So Clean" is softer and dreamy. This sounds like it's right out the early 90' west coast hip hop (Dre and Snoop). The background synth give "Ms. Jackson" a chill vibe. This song was dedicated to the Mother of a Mother of a child born out of wedlock. A music box begins "B.O.B." It then kicks in hard with guitar, organs and a beat. This is intense and it keeps speeding up. There's female gospel backing vocals. "B.O.B." is Bombs over Baghdad and about music industry people going halfway. "Humble Humble" has layered rapping including Erykah Badu. Scratching...the drums kick in..it's speeds up and is funky. "Toliet Tisha" continues the varied second half of this album. Spacey guitars...a funky bass..synth lasers and a synth loop. Very R&B and funk. The album closes with "Stankonia (Stanklove)." Soulful. Gospel. A pyschedelic guitar. An appropriate ending. There is a lot of positive things going on with album. It's laid back at times. It's also very busy at times. The interludes between songs add character and comedy. This album has a certain flow to it. Some of these songs, I would put in the R&B/pop or pyschedelic genres and not hip hop. The one thing is that it sounds both fresh and futuristic even today. It is long and a lot to get through but a high recommendation.

"Live and Dangerous" is a live double album by Irish rock band Thin Lizzy. The album was compiled from live performances in London, Philadelphia and Toronto with producer Tony Viscoti who didn't have time to work on a studio album. It was then overdubbed in Paris; the amount of overdubbing is a mystery although some claim upwards of 75% of the album. Commercially, it hit #2 in the UK and, critically, it had widespread acclaim with some considering it one of the best live albums of all time. The album opens up with the crowd chanting on "Jailbreak." Guitar driven and very clean sounding. Actually, all these songs are very clean sounding for a live album. More relentless guitar and solos. It the segues into "Emerald." This is even more fast paced and I noticed how heavy metal this sounds. You hear that on a number of songs. The melody is the king on "Dancing in the Moonlight." The saxophone is more prominent on this version. One of my favorite Thin Lizzy songs. The band goes full throttled fast and hard in "Massacre." Relentless guitar. Bass and drums. It's about the unknown heroes killed in the American plains. A slow acoustic guitar begins "Cowboy Song." This sounds great, very similar to the studio version. It goes right into another big song "The Boys Are Back in Town." Great rhythm guitar. Very nice mixing and production with each instrument coming through. The fourth side showcases the variety in their music. "Suicide" and "Sha-La-La" are mostly metal. They go bluesy in "Baby Drives Me Crazy" with no less than Huey Lewis on the harmonica. I predict this will be the only time Huey Lewis is mentioned in the challenge. The album closes with the hard rockin' "The Rocket." Fantastic drumming. Yeah, this album rocks. The band is tight. The songs are very clean sounding; I don't care how much of it was overdubbed...it sounded great. I was surprised at how hard and heavy they sound. It's no surprise it comes up in some of the best metal live album rankings. If you like a hard rockin' live album, this is a good place to go.

"Treasure" is the third studio album by Scottish alternative rock band Cocteau Twins. This is the album where the band totally embraced their ethereal sound. I liked the genre descriptions of ethereal wave and dream pop. It's also the album where they locked in their core members of vocalist Elizabeth Fraser, guitarist Robin Guthrie and bassist Simon Raymonde. Commercially, it hit #29 in the UK and was critically well received. A strumming guitar and bass begin "Ivo." Fraser's heavenly voice comes in and then another Fraser voice enters and we get their signature layered vocals. A good song which gets better in the next song "Lorelei." No, not a Styx cover song. Bells ringing and guitar sounding like an ambulance. The main vocals are higher with the backing vocals lower. One of their best songs. "Persephone" has an electric drum beat and a rock, slashing guitar...very 80's post punk sounding. It's dramatic and hypnotic. Fraser almost screaming. "Amelia" is haunting. A melodic, dark guitar. A slower beat. We even get a guitar solo. The mix on "Aloysius" is louder and cleaner. A lighter guitar. A nice song. A church-like organ opens the closer "Donimo." There's a church sounding choir. The song picks up a beat and it's intensity increases. Maybe, Fraser's best song vocally. This is a very good album. Each song creates an atmosphere and is unique within a dreamy and chill framework. The guitar sets the tone. Fraser's layered vocals are an instrument in and of themselves. A high recommendation.

"Ill Communication" is the fourth studio blbum by American hip hop group the Beastie Boys. The album was varied with elements of hip hop, punk, jazz and funk and continued their move away from sampling towards live instruments. There is a decent amount of sampling though. There were various contributors including Q-Tip and Biz Markie. The album debuted at #1 in the US and hit #10 in the UK. A sample of "Howlin' for Judy" by Jeremy Stieg opens and drives the melody of "Sure Shot." Scratching, rapping. They're strutting their rapping prowess. Hard not to like a song that mentions Lee Dorsey, Mario, Kojack and Rod Carew. Another great use of sampling which drives the song is "Root Down ( And Get It)" in "Root Down." The bass. The beat. The groove. Everyone on the mic. Being yourself and doing your thing. I remember distinctly seeing the video for "Sabotage" the first time and saying who is this. The Beastie Boys? No way! Yep. That guitar open with the drums. The bass kicks in. Crazy and great scratching. A hilarious video. It's about a fictitious producer sabotaging them. Alright, a great song. Another great song on this album is the next one "Get It Together." It features Q-Tip on the mic with all of the Beasties. The music is on the downlow and smooth. "Ma Bell I got the Ill communication." "Do It" features Biz Markie. It has a groovy guitar. Again, everyone on the mic. They've got the stuff. " I've got the Attractions like Elvis Costello." The last two songs highlight some of the variety in this album. "Bodhisattva Vow" has distorted vocals and echoes. There's scratching. It has a Middle Eastern sound and expounds on beliefs in Buddhism. "Transitions" has a funky, soulful guitar. Very 70's sounding. It's also one of the four instrumentals on this album. This album does have a lot of variety from hip hop to punk to jazz to funk. There's experimentation with distorted vocals and the instrumentation. I got a pyschedelic vibe at times. A lot of the songs had more of a downtempo. No surprise since they drew inspiration from 70's jazz and soul...hence, some of the sampling. I think this all worked very well and I'd put this near the top of their catalogue.

"Achtung Baby" is the seventh album by Irish rock band U2. After criticism of their previous album and film "Rattle and Hum," U2 sought influences of alternative rock, industrial and electronic music for their new album. They employed producers Daniel Lanois and Brian Eno and started recording in East Berlin after the Germany reunification. They struggled with personnel conflict during that time and ended up finishing the recording in Dublin. The lyrics were darker and more introspective than their previous more anthemic work. Commercially, the album hit #1 in the US and #2 in the UK. It did received mostly favorably reviews and even moreso respectively. Bells, tinny electronic drum beats and a distorted guitar open up "Zoo Station." Is this U2? The music kicks in with layered Bono vocals. We get even more layered Bono vocals in "Even Better Than The Real Thing." A whirly Edge guitar which goes into a more typical Edge guitar. People looking for instant gratification. The song that reinspired the band during their recording "One" starts slower. Layered guitars. One of Bono's best and emotional vocals. And, one of their best songs. No pun intended. Two people going through their struggles. And in the next song, "Until the End of the World," Bono goes the opposite way and gives an almost deadpan and emotionless delivery which is perfect. An echoing guitar and darker rhythm section. Maybe, my favorite song on the album. The first song I heard from this album was "The Fly." It was so different than the previous U2. An echoing guitar. Layering of an industrial drumbeat and percussion. Bono whispering and portraying a character calling from hell. They go a bit funky in "Mysterious Ways." Great, great bassline. More layered percussion. Bono elevating and idolizing a female. Another great deep cut is "Ultraviolet (Light My Way)." An orchestral into which transitions into an echoing guitar and more standard rhythm. Catchy music and chorus. The intesity builds throughout the song with Bono's vocals. The album closes with Love Is Blindness." A darker, slower and emotional song. A church-like organ intro. A prominent bass. An industrial, interesting time signature percussion. The guitar gets more chaotic throughout the song. About a failed relationship/ marriage which the music captures just right. An unorthodox ending to a U2 album. This is U2's best album. They take risks with the dance, dark and industrial beats. And it works. From song to song, Edge's guitar is different and unpredictable. Bono's lyrics are interpersonal and not at all pretentious. Every song is worth a listen...I had trouble not mentiong all the songs. I also really liked their next, to some extent under appreciated, "Zooropa" and half of the following "Pop." And then. Well, yeah, and then. I thought this might sound dated today but it didn't at all. An album defintely worth going back to.

"Darkdancer" is the second studio album by Les Rhythmes Digitales who is English electronic musician, DJ, songwriter and record producer Jacques Lu Cont (aka Stuart Price). Synth-pop and post-disco are the named genres. I always like coming across genres for the first time and post-disco would be one of those. One critic commented the music as ahead of its time and launching much of the electro-pop of the 2000's. Commercially, the album hit #53 in the UK. "Drramin'" opens things up with a synth-driven melody and a disco dance beat. A guy singing "don't just sit there dreamin'...dance, dance, dance." This is very early 80's sounding. The second single "Music Makes You Lose Control" adds an interesting synth-guitar melody and a more prominent bass. Horn sounds are thrown in. The beat sampes "Body Work" by Hot Wax. The third album single "(Hey You) What's That Sound?" amps the funk factor up a bit with layered synths. A different guy singing and repeating the title. I'm coming to appreciate the minimalist approach to lyrics on this album. Scratching begins the first single "Jacques Your Body Makes Me Sweat." This song goes all over the place. A repetitive- funky synth and rappin.' The song changes pace to 80's video game-synth music and then back to the funk. "Sometimes" begins with ominous synths and beats. The melody goes more pop and Nik Kershaw shows up. This is definitely the closet to a pop song on the album. And keeping with the time travel theme, we are again in the 80's with the melody and especially with Nik Kershaw singing. The album closes with even more ominous synths in "Damaged People." Thomas Ribero on lead vocals as he repeats that we're all damaged people. The least danceable song on the album. Actually, not danceable at all. Maybe, the most interesting song on the album. I have to be honest; I didn't know what to expect here and wasn't sure I was looking forward to it. But, this album kept my interest for the most part. There are creative uses of the synths and a cast of different lead singers. The beats were varied with elements of dance, disco, industrial, funk, ambient and hip hop. There are a few songs that are very similar to current-day DJ sets I've seen. Yeah, I don't think this will be everyone's cup of tea but if you're into electronic and dance music, you'll like this.

"Illinois" is the fifth studio album by American singer-songwriter Sufjan Stevens. Also known as "Sufjan Stevens Invites You to: Come on Feel the Illinoise," as shown on the album cover, it is a concept album featuring songs referring to places, events and people related to the state of Illinois. It was his album based on a state (Michigan the first); he jokingly said he was going to do an album on all fifty. Indie folk, chamber folk and indie rock are the appropriately listed genres. The recording was done at multiple locations in NYC using low-fi equipment. The album was widely acclaimed for its well-written lyrics and complex orchestration. Commercially, it made it into the US Billboard 200 and has been his greatest success to date. Piano and a flute open the album in "Concerning the UFO near Highland, Illinois." Nice vocal harmonization which continues throughout the album. And yes, about a reported UFO sighting near Highland, IL. "Come On! Feel the Illinoise!" ( two parts) has a jaunting piano. Horns are added. Great arrangements. The songs builds with the vocal harmonies and piano. Illinois did hold the World's Columbian Exposition in 1893. Boy, some of these songs have ridiculously long titles including this one which I cut in half. Strings and a vibraphone create a loud intro for "Chicago." Strings remain the background with multple instruments. Stevens whispering and telling the story of road trips (one to Chicago) which he uses as an analogy for making mistakes and starting over. A great horn interlude and just a fantastic vocal chorus with harmonies. No doubt, one of the best songs in the 2000's. In the next song, he ups the ante in the an even more compelling song "Casimir Pulaski Day." It's slower with an acoustic guitar as tells the story of visiting a lover who is dying of bone cancer on the Casimir Pukaski state holiday. Religious overtones. It builds to a musical climax with horns added. Woah, what a song. "The Man of Metropolis Steals Our Hearts" brings the rock with drums and an electric guitar riff. Always of a fan of the soft-loud-soft dynamic and this song pretty much defines that. Vocal harmonies carry the wonderful chorus as they sing of Superman (actually from Metropolis) with comparisons to Christ. A glorious harmony ending. This is a great album. Fantastic orchestral and harmony arrangements. The lyrics are very clever and at times very emotional as he ties actual events, people and places to his own personal experiences. Not many artists have successfully done that. I counted no less than 23 instruments played by Stevens and he uses a number of them to carry the melody throughout the album. Sufjan Stevens has at least four or five must listen to and must have albums and this is one of them.

"The Undertones" is the debut album by Nothern Irish rock band The Undertones. The album was recorded in London and produced by Roger Bechirian. Punk rock and pop punk. Yep, that sums it up. The album received widespread critical acclaim with descriptions such as "great, elusive, valuable, new pop alongside Blondie, Elvis Costello, the Ramones and the Buzzcocks. The album is considered one of the best from 1979 and one of best all time pop/punk albums. A slashing guitar opens "Family Entertainment." A clear rhythm guitar and a fast punk-pop pace. A catchy melody (most of these songs are). Darker lyrics at face value suggesting incest. And there's more slashing guitar on "Jump Boys." More power pop punk with multiple backing vocals. A guitar and bass solo in this 2:42-minute song. I have no idea who the jump boys are. Drums start "Here Comes the Summer." Right into guitar power chords. Oh, the keyboards driving the melody. Sun and girls. "Jimmy Jimmy" is slower with a melodic guitar. It kicks with a more classic rock beat. Another dark song lyrically as little Jimmy gets carried off in an ambulance which no one saw. Pounding drums and rolling bass get "True Confessions" going. This is different and I like it. It's more post punk and actually sounds like Devo. A hypnotic, mechanical, repeating guitar note. "Listening In" is melodic with guitar and keyboards. It goes right into the short closer "Casbah Rock." This sounds like it was recorded in a cave and maybe that's on purpose as The Casbah was a venue they played at. I think there might be a similar titled song a few years later. This is a very good album. I can see the comparisons made to those 1979 bands mentioned earlier. Catchy, melodic, pop-punk fast. Short right-to-the point songs. A darker edge lyrically to some of the songs keeping it interesting. Yeah, it you want to place yourself back in the 1979 pop-punk era, this is a good place to start.

"Honky Tonk Heroes" is a country music album by American singer, singer-songwriter, music and actor Waylon Jennings. This album is considered an important piece in the development of the outlaw country genre, reviving the honky tonk music of Nashville and adding elements of rock and roll. Jennings reworked his record contract giving him complete control and allowed him to write the songs with then unknown writer Billy Joe Shaver. He also used his band The Waylors as opposed to session musicians to try and capture their live performances. The album made it to #14 on the US country charts and made it into Billboard 200. "Honky Tonk Heroes" begins with an acoustic guitar and fiddle. An electric guitar kicks in and this has a more 50's/60's rock and roll vibe. Yeah, this is good example of outlaw country. Playing pool, hanging out in bars. "Willy the Wandering Gypsy and Me" slows things down it a bit. Acoustic guitar, bass. Slide guitar, violin and a harmonica are added to give this a more traditional country sound. He's wandering the country with Willie. A plodding bass, acoustic guitar and country beat drive "You Ask Me To." Jennings' distinctive voice and nice harmonies. Hey, I've heard this song before. A strumming acoustic and slide guitar begin "Black Rose." A harmonica solo. This wouldn't be out of place in the 70's country rock genre. Drinking and stealing other people's girls. The album closes with "We Had it All." Slower and strings are in the background. Baroque country? A nice and pretty song. This reminded me a lot of Elvis Presley. This is a very good album now matter what genre you put it in. There's elements of country, rock, blues and that last song of baroque. Jennings' distinctive voice. The songs do have a live feel. If today's country music sounded more like this, I'd be a fan.

"Rising Above Bedlam" is a studio album by Jah Wobble's Invaders of the Heart. English bassist and singer Jah Wobble had been involved in a number of musical collaborations and bands including Public Image Limited (PiL) when he formed the Invaders of the Heart. The genre listed is World Music; the music does seem to go all over the place, I guess that's as good as any reason for that. The album was self-produced and the band included Wobble (vocals, bass, keyboards, drum programming, timbales), Justin Adams (electric and Spanish guitars, Arabic percussion, vocals), Mark Ferda (keyboards, drum programming, sampler) and vocalists Natacha Adams and Sinead O'Connor. The album was also short listed for the 1992 UK Mercury Prize. The album opens with "Visions of You." Sinead and Wobble on vocals. The guitar and beat sounding very 90's indie pop. The Soup Dragons came to mind. Dreamy lyrics. The guitar solo going up and down the scales. I was confused by its so-callled world music genre at this point. No need to worry, "Ungodly Kingdom" continues the Carribean beat of the two previous songs and adds horns. A percussion adds afrobeats. Great backing vocals by Natacha Atlas. Solid production and also sounds like it belongs on a soundtrack. A simple drum beat and slide guitar begin "Rising Above Bedlam." Wobble is whispering/talking. People screaming in the background. This song is purposedly creepy. Switching gears, "Erzulie" has ambient keys, Spanish guitar and horns. An electric guitar providing echoes. It goes shortly to big dance music and then back. Atlas singing in French (I believe). Well, Erzulie is the Haitian goddess of love in the Voodoo pantheon. "Everyman's An Island" takes us to the Middle East with its guitar and percussion. It's hard not to like a song with keyboards sounding like Led Zeppelin's "Kashmir." We'll, maybe some of you but not me. There's no doubt the variety of music is what kept this album interesting for me. 90's indie rock to Latin/Carribean to Afrobeat to Middle Eastern to soundtracks. I can't say it expands any of those musical genres but the music is extremely well-produced and very happy. Yeah, happy. Natacha Atlas is just fantastic and a highlight on vocals. This album does perk my interest in some Jah Wobble's other works.

"The Message" is the debut studio album by hip hop group Grandmaster Flash & the Furious Five. Old school hip hop. Yep and I'd also say pop R&B. The album was produced by Jigsaw Productions and Sylvia Robinson on the Sugar Hill label. It is known for one of the earliest hip hop albums to have songs portraying black street life. Grandmaster Flash and the Furious Five are the lead and backing vocalists/rappers/ singers on the songs which also included a full instrumental band. The album hit #53 on the US charts and #77 in the UK. "She's Fresh" opens things up. Synths, horns and guys yelling in the intro. A funky bass and guitar come in and we have a very 80's pop R&B song. I'm always a sucker for 80's video game sounding synths too. If you're a Tom Tom Club fan, you'll love "It's Nasty" which samples "Genius of Love" throughout. Multiple rappers which is also pretty much throughout this album. A robot voice introduces us to "Scorpio." That voice continues throughout. This is definitely groundbreaking. I immediately thought of Max Headroom. There is a pulsating beat and laser synths. This sounds futuristic even today. An electronic beat and echoing synth sounds begin "The Message." Grandmaster Melle Mel and Duke Bootee tell a story of inner city poverty where a child grows up in a world and life of crime which eventually ends up in his death. A classic. A song included on future reissues but not on the original and worth a mention is "The Adventures of Grandmaster Flash on the Wheel of Steel." It's an important song in the world of DJ mixing and sampling. The samples include Blondie, Chic, Queen and the Sugarhill Gang. The album is worth it alone just for its two standout songs in "Scorpio" and "The Message." There a few other decent songs (the other ones I mentioned). The other three songs are pretty much average pop R&B. If you're interested in going back to early old-school hip hop, there are a few classics here.

"Caetano Veloso" is the debut solo album by Brazilian composer, singer, guitarist, writer and political activist Caetano Veloso. The musical genres listed are tropicália and pyschedelic rock. Eclectic assortment of influences include pyschedelia, rock, pop, Indian music, bossa nova and Bahian. For Sure. It is credited as one of the first tropicália efforts which means a union of popular and avant-garde styles. Brazillian artist Hélio Oiticica delivering a speech opens "Tropicália." Multiple percussions come in. Strings and horns give an air of pyschedelia. The rhythm becomes a slow bossa nova beat. This a very good and successful example of his pyschedelic-bossa nova fusion. "Alegria, Alegria" starts with pyschedelic guitar and an organ swirl. The percussion is a tambourine beat. It's slow then goes fast and back again. The vocals are very 60's pop. "Superbacana" is more active and sped up. A more prominent string orchestra with a bossa nova beat. It's very much a fun song. "Paisagem útil" is a lush string-laced bossa nova. This is more traditional and very much baroque. A love song and ode to Rio. The beat picks up in "Soy Loco por Tí, América." A harder edge rhythm close to a Columbian Cumbria and Cuban mambo. The title translates to "I am crazy for you, America." I think that's South not North. There are some great song examples of successfully creating a fusion particularly the pyschedelic rock-bossa nova fusion one. The album goes into a variety of styles. Nothing too extreme. The orchestral and overall arrangements are excellent. I enjoyed this album quite a bit.

"The Sounds of India" is an album by Indian sitarist, composer and North Indian classical music expert Ravi Shankar. The intent of the album was to explain Hindustani classical music to Western audiences. It was influenced by Ali Akbar Khan's "The Sounds of India" and recorded and produced by George Avakian at Columbia's New York Studio. The band is composed of Shankar-sitar, Chatur Lal-tabla and N.C. Mullick-tambura. The album begins with "An Introduction to Indian Music" which is Shankar explaining Indian classical music in four minutes: the instruments, instrument sounds, definition of ragas and the differences from Western music. The first actual song is "Dádrá." A sitar opens with the tambura in the background. The tabla comes in and we have all three instruments. This is soothing. Speed changes throughout. It's pretty much a 10-minute sitar jam. "Máru-bihág" has a much faster rhythm from the tabla. At the beginning of each of these songs, Shankar explains the ascending and descending scales he will be using. "Bhimpalási" has fast and slow parts. There are lengths of time without the tabla. Shankar really starts to stretch his sitar (at least it sound like it). This is my favorite song. I really found this fascinating. It's educational, relaxing and soothing. I admit that it will take me some time to really notice and appreciate the intricacies of this music. I would say that this is probably a good place to start with Ravi Shankar and Indian classical music in general.

"Now I Got Worry" is the fifth studio album by American rock band the Jon Spencer Blues Explosion. Punk blues and alternative rock are the appropriate genres. The Jon Spencer Blues Explosion is a trio composed of Judah Bauer (guitar, vocals), Russell Simins (drums) and Jon Spencer (vocals, guitar). A long, loud scream starts "Skunk" and the album is off. Tinny drums. A funky guitar. This is very much lo-fi and reminds me of Mudhoney. They add more bluesy guitar in "Wail." This is slower. I'd put this in the rockabilly category. Yes, of course, the false Elvis voice is present. The band starts to really take off in "2Kindsa Love." Loud driving guitar. Now, dual guitars. The vocals are buried underneath the guitar. This is raw. "Chicken Dog" is a punk rockabilly jam. An unhinged bluesy guitar. Hypnotic funky rhythm. I think Rufus Thomas on lead vocals. This song rocks and is the best on the album. They continue the blues on the next song and third and final single released "Rocketship." Slower and has a garage rock vibe. "R.L. Got Soul" is just a funky, bluesy instrumental jam. Great groove. Along "Chicken Dog," it's the best song on the album. This is a decent album. There's a bit of filler here with 16 songs. They could have cut a lot out and made a heck of an album. The songs are short and have a raw energy. At times, they remind me of a lot bands: Reverend Horton Heat, Mudhoney, White Stripes and the Black Keys. The songs mentioned are a worth a listen.

"Hybrid Theory" is the debut album by American rock band Linkin Park. Nu metal, rap metal, alternative metal, rap rock and alternative are the referenced genres. That's about right. The lyrics deal with lead vocalist Chester Bennington's problems experienced during his teen years with drugs and alcohol and the constant fighting and the divorce of his parents. Other members of Linkin Park include Rob Bourdon (drums), Brad Delson (guitar, bass), Joe Hahn (turntables, samples and synth) and Mike Shinoda (co-lead and rap vocals, keyboards, programming and guitar). The album had generally positive reviews and commercially hit #2 in the US and has sold 32 million copies. Woah! "Papercut" starts with an electronic beat and then the metal guitar and drums kick in. This is pretty much every song. There's scratching. Shinoda is rapping. Bennington comes in with the chorus and screaming. It's about paranoia. Keys go into the metal music in "One Step Closer." Nice vocal interplay by Shinoda and Bennington. Bennington is actually singing in "Points of Authority." This has kind of a funky metal groove. Here, he goes into the effects of child abuse. "Crawling" has a similar musical format as the previous songs but uses the synth more. Bennington addresses his lack of control with drugs and alcohol. Piano keys starts their big one, "In the End". This is their best co-lead. Both singers are emotional and bring it. Catchy chorus. The music nicely follows the lyrics. And maybe their deepest lyrics on the album as they talk about the lie that if you just work hard that's enough and gives you opportunities. Nu metal is one of my least favorite genres. Period. However, in that category, this has to be one of the best examples. Most the songs are formulaic with some sort of soft opening which kicks into metal. The co-lead vocals do work for me. The lyrics are strong and emotional especially now when you know what happened to Bennington (2017 suicide). I'd never recommend any nu metal but if you feel need, this is a good place to go.

"Broken English" is the seventh album by English singer Marianne Faithfull. The album is considered her comeback after years of drug abuse, homelessness and anorexia. The music genre is put in the new wave rock category with elements of punk, blues and reggae. OK...don't know i heard too much in the "elements of" area. It received critical acclaim with it being her masterpiece and music matching her raspier voice. Commercially, it hit #82 in the US and #57 in the UK. The self-titled "Broken English" opens things up. Guitar, synths and a pronounced bass. It's got a disco-esque rock beat and very 70's/80's sounding. Faithful's voice does work with the music as she sings about terrorists at the time. A synth opens "Guilt." This is slower with a bluesy bass and the sax gives a jazzy vibe. Written by composer Barry Reynolds, it describes the feelings of growing up Catholic. The first single "The Ballad of Lucy Jordan" is Faithfull's rendition of the Shel Silverstein written and Dr. Hook song. It's been awhile since I've heard the name Dr. Hook. Her rendition is all synths as Faithfull's tells the melancholy tale of a middle class house wife's dissolutionment. It ends with droning synth. This song works. Faithfull takes John Lennon's "Working Class Hero" in an even more ominous direction. She talks. There's slashing guitar and an eerie snyth feel. The album ends with "Why D'Ya Do It." Here's the new wave guitar. Written by Heathcote Williams, it's the caustic rant of women at her lover and lover's infidelity. The lyrics are very descriptive and I can see why this was banned in several countries. I would not want to meet this women. I don't think it's an accident that the guitar riff in King Missile's "Detachable Penis" sounds exactly like this. This is a decent album and grew on me with repeated listens. Some of the remix song versions are better than the originals too. Her voice does work with this music especially the heavier guitar and more eerie songs. With the synth, it does have a very late 70's/early 80's sound on some songs. I would say it's worth a listen for most people.

"Zombie" is a studio album by Nigerian Afrobeat musician Fela Kuti. This is Afrobeat album which criticized the Nigerian government and it is thought to have resulted in the murderous Kuti's mother and the destruction of his commune (Kalakuta Republic). The zombie metaphor describes the methods of the Nigerian military. This album has two songs both in the 12 to 13-minute range. "Zombie " opens with a funky guitar, a jazzy beat and multiple horns. This is a good song example of Afrobeat - the fusion of jazz, funk and blues with Western African musical styles. Fela's vocals come on midway through where starts repeating "zombie" and "murder." The next song "Mister Follow Follow" has mutliple horns which takes the lead. There's more of a African beats at the start which turns more jazzy. Similar to the first song, the vocals come in midway. The music is on this album is compelling and one the best fusion styles I've heard. It's hard to completely appreciate the conditions and political nature of Fela's situation at the time but given the reaction, it put more into my listening experience. The re-issued CD has two additional songs which are also worth a listen.

"Rage Against the Machine" is the debut album by American rock band Rage Against the Machine. Lots of interesting genres listed describing their music: rap metal, funk metal, alternative metal and rap rock. All songs feature political content. The famous cover shows the self-immolation of Thích Quảng Đức, a Vietnamese Buddhist monk, protesting President Ngô Đình Diệm's administration for oppressing the Buddhist religion. Band members include Zack de la Rocha (vocalist), Tom Morello (guitarist), Tom Commerford (bass) and Brad Wilk (drums). The album received wide-spread critical acclaim and, commercially, hit #45 in the US and #17 in the UK. A bass start, the kicks in and we're off with "Bombtrack." Morello with heavy metal guitar riffs. De la Rocha rapping about social inequality, landlords and power whores. The drums, the bass, a cowbell and that hypnotic guitar riff opens "Killing in the Name." One of many ridiculous Morello solos. It's a protest against police brutality. A memorable song ending with de la Rocha screaming and repeating "fuck you, I won't do what you told me" until he and the band come to a climatic close. They get a little funky in "Bullet in the Head" with the bass and drums. Morello with a scratching wah-wah guitar. This time it's the government controlling the population via the media. Wilk's drumming shines closing the song. The band gets a little help from Maynard James Keenan in "Know Your Enemy." A wobbly, echoing guitar. Anti-war, anti-authoritarian. The music has an urgent nature in "Wake Up." The song keeps speeding up as de la Rocha screams about racism. A loud rock start by the band begins the closer "Freedom." They get a speed-up, slow-down cycle going. The government and corporations are controlling the population. The song appropriately ends with de la Rocha screaming and loud feedback. This is quite a debut album. The music, lyrics and vocals are intense and match each other. The musicianship is top notch with Morello guitar solo's original and top notch. I'd have to say this is their best but their other three albums all have songs worth listening to. Highly recommended.

"Rapture" is the second album by American vocalist Anita Baker. Baker teamed up with Chapter 8 bandmate Michael Powell who produced this, her Elektra debut. R&B, soul and quiet storm are the listed genres. I had to look up quiet storm which is both a radio format and a genre of R&B with a smooth, romantic and jazz-influenced style and based a 1975 Smokey Robinson album. It was her breakout album garnering her two Grammy's. Commercially, it hit #11 in the US and #13 in the UK. "Sweet Love" opens with piano and drums. This is smooth and jazzy with the keyboards added. Baker has a soothing voice which goes loud to emphasize her sweet love. The second single "Caught Up in the Rapture" is slower with a R&B beat. A very light and airy vibe with the dreamy keyboards. The keyboards are again front and center in "No One in this World." They're very 80's sounding with a shimmering echo. Baker shows off her voice and actually croons. A nice touch with the female backing vocals. Horns lead off the album closer "Watch Your Step." This has a nice groove. A catchy chorus with the female backing vocals. For some reason, Baker's voice reminded me of Alison Moyet. Wow, this took me back to the 80's. Of course, I thought of Billy Ocean. However, this is a fine album. Her voice is great: romantic, smooth. The production is very glossy. I kind of got what I expected but it had been awhile. If you want a trip down to the 80's memory lane, this is a good place start.

"GRIS-gris" is the debut album by American musician Dr. John (aka Mac Rebennack). Some investigating genres listed for this one: New Orleans R&B, pyschedelic funk, swamp, swamp blues, swamp rock and pyschedelic rock. The album was recorded in LA with New Orleans musicians and was produced by Harold Battiste who also played bass, clarinet and percussion. The album title is a name for a kind of talisman and the Dr. John character was inspired by a reputed 19th century Voodoo doctor. The album failed to chart upon its release but was more recognized by critics when it was released CD decades later. A guitar moaning and Dr. John's deep growl open "Gris-Gris Gumbo Ya Ya." A piano comes in and the song moves along at a crawling speed. Creepy is word that comes to mind and why wouldn't it as we are introduced to Dr. John as creeping down the Bayou. It had been awhile since I heard the term "All y'all" used. "Mama Roux" has almost a bossa nova/Carribean beat. The female backing vocals are a highlight of this song and throughout this album. The percussion gets more complex but there's still a laid back vibe. "Croker Courtbullion" is mostly instrumental and a song written by Battiste. Multple percussion, congas, clarinet, flute, piano. Very improvisational. Some background chanting. The album closes with "I Walk On Guilded Splinters." This is very hypnotic and seductive in an evil way. Dr. John and the backing vocals repeating "Til I Burn Up." Heavy percussion, more clarinet, a sax and sparse guitar notes. It's based on a Voodoo church song and the high point of the album. I now understand swamp rock; this is a stew of a lot: blues, funk, Caribbean, bossa nova, soul and definitely pyschedelic. The growl of Dr. John works with the female backing vocals. The Voodoo and creepiness adds to the atmosphere. I enjoyed this album and like some of Dr. John's later work too. Recommended for anyone interested in the genres previously mentioned.

"Slayed?" is the third studio album by the British rock group Slade. Glam rock and hard rock. Right on. It was produced by Chas Chandler and the bandmembers are Noddy Holder (lead vocals, rhythm guitar), Dave Hill (lead guitar), Jim Lea (bass, violin) and Don Powell (drums). Commercially it did fantastic in the UK reaching #1 and staying on charts for 34 weeks. It reached #69 in the US. A lead guitar riff opens "How d'you Ride." Holder comes in vocally. Yeah! Woah, AC/DC must have been paying attention. This is straight-forward rock & roll. "How do you ride, Honey?" Layered dual guitars, shaking tambourines and a pounding piano carry "The Whole World's Goin' Crazee." A searing guitar solo and we're still rockin' pretty hard. "Gudbuy T'Jane" begins the second half. A catchy glam rock guitar riff. A great rhythm guitar too. It was inspired by a woman, Jane, who demonstrated a sex machine on a TV show on which the band appeared. Holder's vocals just shine on "Mama Weer All Crazee Now." Catchy choruses, hand claps and sort of a Stonesy groove. This is glam rock at its finest. Also, this just might be birthplace of hair metal...for better or worse. It's about the band playing a show where the band before them was "crazy with whiskey." The album's closer "Let the Good Times Roll/Feel so Fine" is a cover of songs by Shirley and Lee and Johnny Preston. It's sped up. Pounding piano drums and bass. A fitting ending. This was fun. Glam rock, rock and roll and a bluesy stomp. Great lead and rhythm guitars. Noddy Holder and bandmemmbers set the blue print for hair metal nation. Ah, Quiet Riot got that connection going, didn't they. This album is recommended for everyone and if you're a late 80's metal fan, you might need to listen twice.

"Surfer Rosa" is the debut studio album by American alternative rock band the Pixies. The listed genres are alternative rock, art punk and grunge. I don't know about the grunge. The album was produced by Steve Albini and is known for its interesting lyrics (voyeurism, multitalation, references to Puerto Rico, nonsensical), experimental recording techniques and distinctive sound. The band is Black Francis (lead vocals, rhythm guitar), Kim Deal (bass, vocals), Joey Santiago (lead guitar) and David Lovering (drums). The album was recorded on the British label 4AD and was initially only available in US as an import. The album did not chart upon its release but has since been certified gold. Critically, it is widely considered one of the best albums of the 1980's. "Bone Machine" opens with sort of tinny drums and Santiago's surf-sounding guitar. Black Francis is screaming something. Kim Deal joins in on the chorus. The song turns more chaotic. I think we have something here. The surf guitar assault continues on "Break My Body." The song gets a groove going especially with Deal's bass. A great guitar hook. Multilation and self hatred. The lone single released "Gigantic" has Kim Deal on lead vocals. The drums, the bass line and Black Francis howling. Great vocals by Deal. Hey, is the first time we hear the soft-loud-soft dynamic from them? It is based a film which involves an illicit affair between a white woman and a black teenager. Black Francis said they used gigantic for the way it sounds. Oh, I think it was used for an entirely different reason. Yeah, huge wouldn't have worked. An acoustic guitar goes right into those signature guitar chords in "Where Is My Mind?" More howling. Black Francis talking which is buried beneath the guitar. Supposedly, it's about a small fish chasing Black. An interesting song is "Cactus." Slow electric guitar. There's a dark edge to the sound. Probably for the best as we hear a prison inmate ask his girlfriend to send him her dress smeared with blood. The album closes with "Brick Is Red." Mostly an instrumental. A great guitar jam. This is a great album and deserves its place among the best alternative rock albums. Short, catchy songs. Weird lyrics that keep you guessing the meaning if there is any at all. And if you can make out the lyrics. The music sounds like a cross between the B-52's, Hüsker Dü and punk in general but has a unique identity of its own. The best Pixies' album seems to change for me but this one is always near the top. A must hear.

"New Boots and Panties!!" is the debut studio album by English singer, songwriter and actor Ian Drury. The album is noted for its diverse styles including pub rock, funk, disco, music hall and early rock and roll. The songs are love songs and profane, ribald and humorous character stories of working class people from East End and Essex Estuary. With Drury on vocals, the other bandmembers included guitarist/keyboardist Chaz Jankel and bassist Norman Watt-Ray who would become part of the Blockheads and drummer Dave Payne. The album reached #5 on the UK charts and had widespread critical acclaim. "Wake Me Up and Make Love With Me" opens with bass, drums and piano. Drury talking in his strong accent. This is pretty straight-forward rock and roll with a jazzy and bluesy edge. It reminded me of the Kinks. "Sweet Gene Vincent" starts out slower and is more of a ballad. The song is a tribute to rockabilly singer Gene Vincent and midway through kicks into a great 50's-sounding song. OK let's go music hall and that's what "Billericay Dickie" does. The music add to the comedy of the main character's stories of sexual conquests. The second half of this album brings it a little harder. "Clever Trever" gets a groove going. Swirling keyboards. A very 70's sounding guitar solo. Well, it is 1977. Ah, they finally bring the punk in " Blockheads." Drury screaming. The band at about five times the pace of the previous songs. And the future name of Drury's backing band. The album proper closes with an anti-racist punk song in "Blackmail Man." We can't omit his famous song "Sex & Drugs & Rock & Roll" which was included on future album re-releases. The signature guitar chords. The funkiest song on this album. He's tongue-in-cheek, right? Maybe, he's serious. This is a really solid and entertaining album, especially the second side. There's clever and funny lyrics. The band is tight. A very unique vocal delivery style in his, for the most part, deadpan voice. They go from rock and roll to music hall to punk to funk. I like the origin of the album title which are the only two clothing items Drury would buy new. Now, that's funny.

"Yeezus" is the sixth studio album by American rapper and producer Kanye West. It is considered his most experimental and sonically abrasive album incorporating industrial, acid house, electronic, punk and Chicago drill. Similar to his previous album, he worked with a number of artists and collaborators on production including Mike Dean, Daft Punk, Noah Goldstein. Arca, Hudson Mohawke and Travis Scott. There were also a number of guest vocalists (Justin Vernon, Chief Keef, Kid Cudi, Assassin and Charlie Wilson). The album had widespread critical acclaim and, commercially, hit #1 in the US and UK. "On Sight" opens up with with electronic sounds including lasers. It goes to an electronic beat. Kanye rapping. This is different. "Black Skinhead" keeps the electronic theme but this is more industrial and minimalist. Kanye has an anxious tone as he raps about racial tensions and his crumbling state. In "I Am God " Kanye is called Yeesus by Jesus. This is desolate. A choir comes in at the end to cheer things up. The tone changes somewhat in the second half. "Blood on the Leaves" starts out more of a ballad. The music then starts to build tension. A sampling of Nina Simone's "Strange Fruit" is a brilliantly used as almost background vocals. Kanye uses the vocoder. This is very dramatic. The best song on the album. The closer "Bound 2" switches to soul as they repetitively sample "Bound" by the Ponderosa Twins Plus One and "Sweet Nothin's" by Brenda Lee. Kanye rapping in a pretty straight-forward way. The production of this album does make it abrasive and desolate. Kanye's vocals are dramatic and paranoid. I think he got what he was aiming for. I really started to appreciate the details on multiple listens. This is a very good album. And on the positive side, the album is only 40 minutes long with songs in the three to six-minute range. There is not a lot of filler. Recommended if just to listen to "Blood on the Leaves" if you haven't heard it already.

"Aha Shake Heartbreak" is the second album by American rock band Kings of Leon. Alternative rock, Southern rock and garage rock revival are the genres listed. Hmmm...garage rock revival is a new one for me. The album was produced by Ethan Johns and recorded in LA. The band is Followill brothers Caleb (vocals, rhythm guitar), Nathan (drums) and Jared (bass) and cousin Matthew Followill (lead guitar). The album received generally favorable reviews and, commercially, hit #3 in the UK and #55 in the US. A lead guitar slash and a slow rhythm guitar open "Slow Night, So Long." The band kicks in and the song progressively gets faster. Caleb's vocals are buried as he regrets sleeping with a 17-year old. They slow up the pace on "King of the Rodeo." And, again they pick up the pace. Layered melodic guitars. "Good Time To Roll on." Their first single "The Bucket" has catchy guitars. The soft-loud-soft dynamic. A melodic guitar. Standard rock sounding but one of the best songs on the album. It's about 17-year old bassist Jared dealing with fame. "Four Kicks" is more hard rocking and bluesy. OK, here's your Southern rock, actually punky blues sounding. The vocals work here. He's singing about his Dad getting into fights. This album is OK; I have to admit I wasn't expecting much. It does rock at times, if repetitive. There's nice layered, melodic guitars. The band is tight. The lyrics are standard rock fare: being in a band, different types of girls and, of course, fathers getting into fights. The singer to me is just OK. There are some songs here worth hearing and if you like them, you'll probably like the album.

"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.

"All Mod Cons" is the third studio album by British band the Jam. New wave, mod revival and punk rock. Yeah, I picked all that up in the first song. The album title refers to a British idiom on housing advertisements "all modern conveniences" and a pun on the band's association with the mod revival. The band is Paul Weller (guitar, piano, keyboards, vocals) Bruce Foxton (bass, vocals) and Rick Buckler (drums). After a commercially disappointing second album, this album reached #6 in the UK and had wide-spread critical acclaim. Drums and a rockin' guitar open "All Mod Cons." You get a dose of Weller's melodic guitar, a highlight throughout this album. He is taking a shot at fake friends and record executives. The band covers the Kink's "David Watts." This is a much faster version. Foxton on lead vocals with Weller on backing vocals. They make almost a singalong. A piano adding to the music. "In the Crowd" shows the heartfelt side of Weller as he sings about losing your individuality. It starts out as a more of a pop song and then rocks out. A searing guitar solo outro. The band comes out blazing on the second side with "Billy Hunt." This is in punk territory. Weller yowling. Buckler gets the percussion and cowbells going on "A' Bomb in Warfour Street." A prominent bass. Layered guitars. This sounds a lot like their contemporaries at the time, the Clash. A story about a guy going to interview and it getting derailed by a bomb threat. Speaking of derailed and the Clash, the album closes with the wonderful "Down in the Tube Station at Midnight," a song about a young man getting beaten up by right wing thugs at Tube Station. There's eerie train sounds. Weller might have saved his best melody for last with melodic layered guitars closing it out. This a fabulous album. The music is melodic and all band members shine. Nice mixing and production with all instruments very clear. Most the songs are short. The songwriting and lyrics are top notch with Weller telling stories and his innermost feelings on some things. Ah, very similar to the band they cover, the Kinks. There's hard rockers, punk songs and even some I would put in the ballad category. Not bad song or a dull moment. A very high recommendation.

"Thriller" is the sixth studio album by American singer and songwriter Michael Jackson. The album was produced by Quincy Jones and was a mix of pop, post-disco, rock, funk and R&B. Jackson wanted to create an album where every song was a killer. Well, he came pretty close at least commercially with seven of the nine songs on the album reaching the US top ten. The album was #1 for 37 non-consecutive in the US, has sold over 70 million copies worldwide and won eight Grammy's. It had widespread critical acclaim and, in 2008, was inducted to the National Recording Registry for its artistic significance. The album starts out with the funky "Want to Be Startin' Somethin'." A quick beat, bass and guitar. There's horns. Jackson's high tenor working really well with the backing female vocals. The memorable ending with the "Mama-say mama-sah ma-ma--coo-sah" sample from Manu Dibango's "Soul Makossa." Some legalities happened there. I guess I have to mention the duet with Paul McCartney and "The Girl is Mine." There, I did it. The first side ends with "Thriller." Everything about this song was an event. The video. Did you see the video? Where did you see the video? The song itself is weird and great with doors slamming, werewolves howling and, of course, Vincent Price. The song is catchy and danceable. The second side starts out rockin' with "Beat It." The guitar, the drums and Jackson singing about anti-gang violence with the video a West-Side story homage. Eddie Van Halen with a very brief solo spot. A song Jackson wrote along the next one, the highlight of the album in my opinion, "Billie Jean." The synth melody, the jingly guitar, the funk. Actually, a very dark song lyrically as it's about an obsessive fan who alleges Jackson fathered her child. A very decent groovy song is "P.Y.T. (Pretty Thing)." A clean, pop song. Maybe, the most danceable song on the album. I had no idea what to write about this album so it eventually came to me. The production and overall sound quality is great. There are three absolute killer songs in "Wanna Be Startin' Somethin'," " Beat It," and "Billie Jean." Some of the best songs ever in the pop, dance and R&B category. "Thriller" is a fun novelty song. OK. I had trouble, knowing what we know now about Jackson's personal life, with some of the romantic ballads and the duet is just silly. There is a darker edge to some of the lyrics that I didn't get as 14-year old when it came out. That alone made this is an interesting re-listen. Recommendations/non-reommendations - I think everyone knows where they stand on this album but maybe listen to it differently next time.

"Public Image: First Issue" is the debut album by English rock band Public Image Ltd. Lead singer Johnny Lydon formed PiL six months after he left the Sex Pistols. This album (and their next one) is considered one the pioneering records in the development of post-punk. Besides Lydon, the band was Keith Levine (guitar, synth), Jah Wobble (bass, vocals) and Jim Walker (drums and his only album). The album had mixed reviews upon its release and was actually not released in the US since it was considered uncommercial. It's now known as groundbreaking. The album starts out unconventionally with most the first side being experimental. A slow drum beat and that screeching, abrasive guitar open the 9-minute "Theme." This sound continues throughout the song. Lydon is screaming. He's lonely and bored I think. "Religion II" adds a more angular guitar to the drumbeat. The music is repetitive similar to "Theme" as is Lydon's screaming but this time he's going after the hypocritical Catholic Church. It's a song he wrote while in the Sex Pistols. "Annalisa" has a faster drum beat and a punk, rock guitar. The most standard song so far. Although, the song is a real life story of a girl who thought she was possessed by the devil and her parents starved her. It can't get more grim than this can it. The second side blasts off with the excellent "Public Image." Bass, drums and "Hello, Hello, Hello." Levine's incredible reverbing, echoing guitar enters. This song just rocks. Lydon is going off about his image with the Sex Pistols. They continue to tear it up in "Low Life." The deep bass, the drums and the guitar in an even higher pitch. Lydon roaring apparently about Sid Vicious. I guess you can't avoid mentioning the closer "Fooderstompf." Synth and a mechanical beat in sort of a disco-dub style. Lydon and Jan Wabble, in a female vocal imitation, just repeating, screaming "Only wanted to be loved." Wobble sprays a fire extinguisher. This goes on for nearly eight minutes. Rumour has it they were low on funds. I wonder when the fire extinguisher entered the potential instruments-to-use list. It was be good to have the first two PiL albums nearly back to back. This first album is half experimental and half really rockin.' The guitar is fantastic and the drummer adds a lot. They would really put the weird, avant-garde and rock altogether in "Metal Box" but there's also a lot to like here. I was into the experimental stuff to a point. The second side's rockin' songs are the highlight and worth a listen by everyone.

"Only Bulit 4 Cuban Linx..." is the debut solo studio album by American rapper and Wu-Tang Clan member Raekwon. Also referred to as "Purple Tape," the album was produced by Wu-Tang member RZA and mostly all members of Wu-Tang appear at some point including Ghostface Killah who is the co-star. The album is considered a pioneer in the mafiaso rap genre as it tells the story of two guys that have had enough of the negative life and want to get their life together but they need to pull off one more sting. It was composed to play as a film with lots gangster film dialogue sampling. Commercially, it hit #4 in the US and had unanimous critical acclaim. "Striving for Perfection" starts things off with Raekwon and Ghostface talking about their long term goals which is to get out. Nice sampling with the theme from the 1989 John Woo film "The Killer." "Criminology" begins with dialogue sampling from "Scarface." Imagine that. Hypnotic beats and laid-back. Ghostface comes in strong as he tells his crimilogy story. The remix of Wu-Tang's " Can it Be All Simple" starts with arguments, fighting and gunshots. The glorified mafiaso lifestyle and how they want to get out. A sample of Gladys Knight & the Pips is expertly used as the chorus. "Ice Cream" compares women to the flavors of ice cream. Cappadonna joins Ghost and Rae in the rapping verses. I think just about all the Wu-Tang members appear in "Wu-Gambinos." The rappers talk over the sampling as they compare themselves to the mob. The album proper closes with "Heaven & Hell." It's slow and soulful. A Syl Johnson sample. It's come to an end as they hope for redemption. Even with the mafiaso theme, the music and beats are chill and at times souful. There's absolutely excellent production by RZA with the music, the sampling and the flow between all the rappers. The forceful Ghostface works with the more-laid back Raekwon. I don't if I completely followed the story as a whole; each song seemed to be its own story. However, the album does flow musically as a whole. The album is not only one of the best rap albums in the mafiaso rap genre but rap genre overall.

"Kollaps" is the first official album by German experimental group Einstürzende Neubauten. Industrial and experimental are the genres. I'll say. The music is a mixture of rough punk tunes and industrial noises from music machines, electronics and metal plates. Lots of metal on metal in this one. Einstürzende Neubauten members included Blixa Bargeld (lead vocals, guitar, noises), N.U. Unruh (percussion, vocals) and F.M. Einheit (percussion, vocals). "Tanz Debil" (Debility Dance) has a buzzsaw in the background. Pounding metal and percussion. Blixa yelling in the background. Wow, this is a harrowing sound. "Negativ Nein" (Negative No) starts out with someone walking in water. Strings plucking. Screaming. Exasperation. Horrifying. "Schmerzen Hören (Hören mit Schmerzen)" (Hearing Pain (Listen with Pain)) has echoing metal sounds. Lots of guitar feedback. Blixa sounds like he's dying. "Kollaps" (Collapse) has a prancing, eerie guitar, sort of Velvet Underground sounding. The pounding is repetitive. Screaming, dramatic, the vocals are very similar to Suicide. "Bitte, Bitte, Bitte" ends the song. Ah, Bitte equals please. "Abstieg & Zerfall" (Descent & Decay) adds a sound like metal getting cut by a wheel blade. There's pounding on tin cans, motor sounds and a guitar sounding like it's been playing backwards. This was quite an experience. I never knew so many sounds could be made by pounding metal on metal. This album is stark, harsh, horrifying and at the same time intriguing, creative and avant garde. There is a connection between the starkness of Suicide through this album to what would become the industrial music of Ministry and Nine Inch Nails. I'm only going to recommend this to anyone who is both Suicide and Ministry fans. And, that would be me too.

"Liege & Lief" is the fourth studio album by British folk rock band Fairport Convention. Many consider this the first major "British folk rock" album. The album was recorded following a motorway crash which killed drummer Martin Lamble and guitarist Richard Thompson's girlfriend Jeannie Franklin. It featured female lead singer Sandy Denny and contained both traditional British and Celtic folk songs and original compositions, both performed with a more rock back drop. Other band members included Dave Swarbrick (violin, viola), Simon Nicol (rhythm guitar), Ashley Hutchings (bass) and Dave Mattacks (drums). Commercially, the album hit #17 on the UK charts. The band comes out a stomping on the uplifting "Come All Ye." Acoustic and electric guitars, fiddle and Sandy Denny's fabulous voice. An original composition which is a rousing start. The traditional "Matty Graves" has layered guitars, more fiddle and just bounces. Thompson and Swarbrick's violin just rock this out. I did not know there was a folk rock "Freebird" but here it is. I actually heard prog elements. Denny tells the story of an adulterous tryst between a young man and a noble woman which does not end well. The band slows it up on "Farewell, Farewell." A melancholy song which is most likely the result of the recent deaths the band experienced. "The Deserter," a traditional song, starts out slow and picks up the pace. Dramatic, telling the tradional story and song of a solider forced to death for deserting. The band takes the traditional "Tam Lin" and rocks it out in the folk rock sense. Great Thompson guitar. For some reason, I kept hearing Jethro Tull's "Aqualung." The album closes with the Thompson penned "Crazy Man Michael." Slower. Another song Thompson admitted to writing over his loss and guilt of his girlfriend. It's a murder ballad where Michael mistakes a raven for his true love and the kills the raven ( his true love) with his dagger of fire and ice. I thoroughly enjoyed this album. Very strong vocals by Sandy Denny. The musicianship is top notch especially Thompson and Swarbrick. It's dramatic and at times uplifting. The pace changes between slow and more rockin' songs. The stories are compelling with the music fitting them. A very high recommendation.

"Vol. 4" is the fourth studio album by English heavy metal band Black Sabbath. It was produced by guitarist Tony Iommi with manager Patrick Meehan also credited. It was recorded in LA with speakers famously filled with cocaine and the album liner notes thanking "the great COKE-cola." Besides Iommi who also played piano and mellotron, Black Sabbath members were Ozzy Osbourne (vocals), Geezer Butler (bass, mellotron) and Bill Ward (drums). The album hit #13 in the US and #8 in the UK. Long drawn out guitar strings and a heavy bass open "Wheels of Confusion." The drums kick in, Ozzy arrives and yeah, we're in stoner heaven. The song just sludges then picks up the pace and back to the slow groove. A tremendous outro with Iommi's layered guitars. The band and especially Ozzy prove they can do a ballad in "Changes." Ozzy might do a few more of these later on in his career. A piano and Iommi and Butler using a mellotron to sound like an orchestra. It's about Bill Ward's breakup with his girlfriend. "Supernaut" starts with a snare drum and Iommi laying the riff. Geezer comes in and off to space we go. A play on pyschonaut and astronaut? Why not a drum and percussion solo. Iommi's riff is slightly on the higher end in "Snowblind." "Icicles in my brain." Jeez, I wonder what this song is about? More slow, driving music which again picks up the pace and goes back to the sludge. Iommi stars in this one. The band leaves grungeland and dives straight into metal in "Cornucopia." An evil sounding and rockin' song. Don't be deceived by wealth and prosperity. They up the evil and rockin' ante on the closer "Under the Sun." Ozzy calling out false religious people. All members reach their instrumental peaks on this one. I love Geezer's low-end heavy bass. This album is grungy, driving and heavy. The entire grunge and metal scenes were listening and are in debt. This album works at every level it attempts to be, even the ballad and instrumentals. Whatever massive drugs they were taking didn't take away from the cohesiveness and overall achievement as it still sounds great today. A great album.

"Shalimar" is a movie soundtrack composed by legendary Indian music director and actor Rahul Dev (R. D.) Burman. The movie "Shalimar" is a 1978 bi-lingual Bollywood film. The soundtrack album opens with "Title Music." Drums and an Indian melody that you hear when a guy is dealing with a cobra. There's horns both like in a big band and jazzy. Wow, this goes all over the place. I think a harbinger of things to come. "One Two Cha Cha Cha" starts out with 60's sounding music and a synth background which quickly goes to the Cuban cha cha. Horns are added. The songs ends with a sitar on top of a Carribbean beat. This is fun. "Dialogue Tum Ek/ Hum Bewafa Hargiz Na Thay (I)" starts out with movie dialogue and people chanting. Kishore Kumar takes lead vocals with a soaring, romantic delivery. Backing chanting vocals and a rhythm with a more African style. Layered strings on top of it all. "Mera Pyar Shalimar" is a ballad sung by Asha Bhoule. Bass, strings, a carribean beat. The melody is aided by what sounds like a harp and is probably a veena. A flute. Very dramatic and probably a key point of the film. "Hum Bewafa Hargiz Na Thay (II)" closes the album. More laidback than Part I with Usha Uthup on lead vocals. A gentle way to end with strings. I think the movie had a happy ending. This was a great experience. I had no idea what to expect. I thought soundtracks were not part of this challenge unless entirely by one band; I'm glad this one got in. This album should be the poster child for not boring. A lot going on. A lot of songs are busy and changes styles. Carribean, baroque, Indian, 50/60's pop, jazz, polka, Spanish, Cuban, African (and I'm missing a few I know). I might need to watch this movie. An album to pick up if you see and definitely listen to.

"Run-D.M.C" is the self-titled debut album by American hip hop band Run-D.M.C. The genres are East Coast hip hop, hardcore rap and rap rock and the album is considered to be the first in a few of those categories. Sparse bears and aggressive rhymes. The band on this album was Jay Master Jay (percussion, keyboards), Darryl Mc Daniels "D.M.C." (vocals), Joseph Simmons "Run" (vocals) and Eddie Martinez (guitar). Commercially, the album hit #53 in the US and was the first certified gold hip hop album. A deep bass drum and handclaps open "Hard Times." They continue throughout the song. Synths in the background. Run and D.M.C. repeating hard times. The boys need a dollar everyday of the week. "Rock Rap" is considered the first rock rap song as Eddie Martinez lays down the guitar licks. More loud drums beats and bells added. They are masters of the mic. Run and D.M.C. deliver their best rapping on "Sucker M.C.'s (Krush-Groove 1) as they diss other M.C.'s. The first single released was "It's Like That." Slow deliberate beats with sparse keys. Considered one of the first hard core rap songs. A social protest song as they rap on unemployment and inflation. "30 Days" is more synth heavy. They are strutting their stuff and if you don't like it, you can send them back in 30 days. The album closes with "Jay's Game" and showcases Jay Master Jay with his beats, handclap percussion and especially his scratching. Compared to current hip hop production, some may consider this minimalist but to me this sounded fresh and relevant as ever. Aggressive and clear rapping. Deep, loud and deliberate beats throughout. Touching on social issues. Rightfully considered a classic and an album to definitely go back to.

"A Little Deeper" is the debut studio album by English singer and rapper Ms. Dynamite (Niomi Arleen McLean-Daley). Reggae, R&B and British soul are the musical genres. Multiple producers employed including Bloodshy & Avant, Keon Bryce, "Lose J" Dyer, Punch and Salaam "The Chameleon" Remi. This album won the 2002 UK Mercury Prize and commercially hit #10 in the UK. Weird noises and a deep bass open the album in "Natural High (Interlude)." Ms. Dynamite rapping an anti-drug message and music is what gets her high. Bells and a slow hip hop beat start "Dy-Na-Mi-Tee." R&B and a soulful vibe. It's about her growing up and she's going to blow-up up your stereo. A Santana-esque guitar begins "Put Him Out." Catchy hip hop beats, female backing vocals and weird synth sounds. Dynamite telling her girlfriend to push out her boyfriend who doesn't treat her right. Ominous keys and a melody taken from the 1934 Italian song "Chitarra Romana" drive "It Takes More." She continues the badgering men theme as she's telling off a braggert and bullying man. A song with a great synth melody is "Afraid 2 Fly." Harp sounds. Uplifting as she's not afraid to fly. Ky-Mani Marley joins Dynamite in the duet of sorts "Seed Will Grow." A deep bass, sparse synth keys and slow beats. Horns added. The girl is trapped in poverty and a drug-addled world. The albums closes with "Get Up Stand Up." A hip hop-R&B-reggae fusion? I couldn't tell if this was a cover of the Sly song or not; it's quite a bit different. Ending in a positive way that you need to get up, stand up and make a change. This album was pretty chill. Hip hop beats and soulful/R&B melodies. Dynamite raps and sings in a very soulful way. She reminded me a lot of Lauryn Hill. There's an overarching theme that's she's going to succeed no matter what obstacles are in front of her (men, family, drug culture). Nice production. This is a very decent album. It's a little long at 61 minutes (CD era); the album could have been trimmed a bit but most people will find something to like here.

"There's No Place Like America" is the seventh album by American singer-songwriter, guitarist and record producer Curtis Mayfield. Funk and R&B. The album was self-produced and recorded at Custom Studios in Chicago on the Custom label. Commercially, it hit #120 on the Billboard 200 and #13 on the Billboard R&B/hip hop chart. Bass strings, a wah-wah guitar and percussion begin the album's opener "Billy Jack." A slow groove as Curtis tells the story of small-time criminal Billy Jack who got murdered in his city. Horns add to drama. "When Seasons Change" highlight Curtis' wonderful tenor voice. Continuing the slow pace, he compares the season changes to his own life and the despair and changes within them. An overall gospel vibe in this song. The first single "So in Love" brightens things up with keys and horns. A simple love song. A great soulful feel. The wah-wah guitar is brought back in "Hard Times." Curtis is having hard times in his town but he does find a brother to hold him up. The album closes with a more uplifting song in "Love to the People." Horns are used again to bring up the positivity. A sax solo is the highlight. Curtis is not giving up. This is a slow-paced and souful album. Curtis' voice, both tenor and deeper bass, is the highlight. It's not quite as groundbreaking as or at the level of his debut or "Superfly," but the music does fit the stories and lyrics of songs of both despair and redemption. Listening to a Curtis Mayfield song is never a bad idea.

"Pipers at the Gates of Dawn" is the debut studio album by English rock band Pink Floyd. It was the only album under the leadership of guitarist and lead vocalist Syd Barrett who wrote eight of the 11 songs. Pyschedelic rock, acid pop, experimental rock and space rock. An apt description is "blended long-form improvisational pieces with Barrett's short songs and whimsical take on pyschedelia. Recordered at London's Abbey Road Studio, the music used reverb, echo and automatic double tracking. Other band members included Roger Waters ( bass, vocals), Richard Wright (piano, organ) and Nick Mason (drums). It was met with critical acclaim and commercially hit #6 on the UK charts. "Astronomy Domine" begins with Peter Jenner reading out names of stars and planets. A pounding bass, bass drums, echo vocals, a strumming pyschedelic guitar and eerie keyboards. A space-themed song and quite a start. A James Bond-esque guitar starts "Lucifer Sam." It's a song about Syd's cat and we get an organ jam. The album's lone single "Flaming" uses all sorts of various noises: whistles, a motor running, running feet and bells. There's a lot of various weird noises throughout this album and why wouldn't there be; it's 1967. An organ leads the way as Syd describes a childlike game with fantasy imagery. Side two opens with the instrumental "Interstellar Overdrive." Drving guitar, bass and drums. The song then goes into a improvisational phase for at least seven minutes. Remember the various weird noises comment. They effectively accomplish getting across the space theme. A great headphone song with stereo echoes at the end. Sometimes, it's good to be put into a pyschedelic haze. The latter half of this side really takes us back to 60's sounding pop songs. In "Chapter 24," Syd was inspired by the ancient Chinese tome "I Ching." Minimalist music with just an organ and this reminded me of "Charlie and the Chocolate Factory." Syd compares himself to a scarecrow resigned to his fate in "Scarecrow." The album closer "Bike" is more bouncey. Syd meets a girl who fits in his world showing her his bike, clock, a mouse and a gingerbread man. Lest you forget what you've been listening to, we get to hear all the noises of what's in his world for the last two minutes. I really have no interest in visiting Syd's world again for some time. Yeah, this is one heck of a pyschedelic ride. I forgot how much of this album is instrumental. It balances itself out with short fantasy-based pop songs. Given their music in the 70's, it's hard to say this is the same band. Then again without Syd, maybe it's not. Anyway, this ranks high on my Pink Floyd album list and is a must listen to if just for a visit to pyschedelia.

"Red Dirt Girl" is the 19th studio album by American country artist Emmylou Harris. It was a significant change for Emmylou as she wrote or co-wrote 11 of the 12 tracks; she had been known for covering other songwriter's work. Country folk and Americana. Yeah, I'd also say just plain ole rock. Commercially, the album reached #3 on the US country charts. It also won a Grammy for Best Contemporary Folk Music in 2001. "The Pearl" opens with a bouncey acoustic guitar, drums, a prominent bass and, of couse, Emmylou's gorgeous voice. Uplifting. An electric guitar is added to the background. It's about transforming pain into beauty if just for a bit. "Until we behold the pain becomes the pearl." Next is a similar, beautiful sounding song "Michaelangelo." It's comparing artists creating to Michaelangelo painting. I can't help thinking it's also about Graham Parsons. Emmylou wrote "Red Dirt Girl" after driving through an Alabama town with all red dirt. This song is more country in its beat. The girl needs to get out of that town. "Bang the Drum" was co-written with Guy Clark. The music is slow and dramatic giving way to an emotional song as Emmylou wrote this as an elegy for her late father. The one cover song is Patti Griffith's "One Big Love." The electric guitar drives this. Layered vocals which work really well. This album closes with "The Boy from Tupelo." A rockin' plodding guitar. A tribute to Elvis as she's leaving her man who's emotionally neglected her. I really enjoyed this album. The music is subtle and in the background giving way to Emmylou's tremendous voice. I honestly don't know what genre I'd put this in as the music is more rock than country and at times ambient. I guess alternative country fits. Her lyrics tell stories seemingly both personal and fictional. Lots of historical references. I recommend this to just about everyone for a listen.

"Scream, Dracula, Scream" is the fourth studio and first major label album by American punk band Rocket from the Crypt. Punk rock, hardcore rock. Yeah, and just plain rock. With its major label debut, the band was given a bigger budget for the album which they used on guest musicians, a string section, additional engineers and different instruments. Rocket from the Crypt members at this time included Speedo (John Reis, guitar, lead vocals), ND (Andy Stamets, guitar, vocals), Peter X (Pete Reichert, bass, vocals), Apollo 9 (Paul O'Beirne, sax, percussion, vocals), JC 2000 (Jason Crane, trumpet, percussion, vocals) and Atom (Adam Willard, drums). The album received mostly positive reviews. "Middle" kicks things off in typical punk fashion...drums, a scream and the guitars coming in to crank it up. He's stuck in the middle. Layered guitars, vocal choruses and pounding drums highlight "On A Rope." Always appreciate a guitar solo in a short song. The chanting of "Hanging on a Rope." They go more melodic in "Young Livers." There is a definite Ramones' influence here. They throw in some horns too. They continued the catchy melodies in "Ball Lightning." Layered guitars and vocals. You can really see the higher production. I also noticed the songs started to be a little more rock-orirented than punk. The album closes strong with two good songs. Horns, more layered guitars and vocals in "Salt Future." This is actually quite poppy. I'm a sucker for the Peter Gunn-sounding guitar and "Burnt Alive" has one. Eerie, screaming vocals from John Reis. Horns elevate and accentuate the melody. This is a very good album with the style I like. The songs are quick and melodic. As mentioned above, the album starts out harcore punk and transitions to more straight-forward rock. The high production does take the low-fi-ness out of the punk which is sometimes desired. Overall. A recommendation for mostly everyone.

"New York Dolls" is the debut album by American rock band New York Dolls. Hard rock, proto-punk, glam rock and punk rock. An apt description is "a mix of carefree rock and roll, influences from Brill Building (60's pop subgenre) pop and campy sensibilities." The album was produced by Todd Rungren and the bandmembers on this album included David Johansen (vocals), Johnny Thunders (guitar, vocals), Sylvain Sylvain (piano, rhythm guitar, vocals), Arthur Kane (bass) and Jerry Nolan (drums). They appeared on the cover in drag purely for shock value at the time. The album did not do well commercially but had wide-spread critical acclaim and is considered one of the best debut albums of all-time. A searing guitar, Johansen screaming and we're off to a rip-roarin' start in "Personality Crisis." Dual guitars, a boogie-woogie piano. About people who are controlled by culture. A gong opens "Vietnamese Baby." More driving guitars and a searing guitar solo along with other musical chaos at the end. The impact of the Vietnam War on everyday life. "Frankenstein" has a dramatic musical entrance. A sax is added. A busy song and sounded a lot like Roxy Music which is a good thing. The second side begins with "Trash." This has more of 60's pop sound mixed with punk. A low-life love story. The only cover they do is Bo Diddley's "Pills." A harmonica and vocal harmonies. They take this in a punk blues direction. A guitar solo, stomping/handclaps and we're into "Jet Boy." Dual guitar solos. This is more hard rock. The so high Jet Boy stole his baby. Is Jet Boy Johnny Thunders? This is a great album. The layered guitars, sometimes absolutely great guitars. Johansen's interesting lyrics and delivery...sometimes very punk. Punk pop, hard rock and a tilt towards 60's pop songs with the melody. It's very influential as I hear their music in The Ramones and punk in general and glam rock. One to hear.

"Among the Living" is the third album by heavy metal band Anthrax. It is considered their breakthrough album and thrust them into the thrash metal top four bands which also included Metallica, Megadeth and Slayer. The album was dedicated to Metallica's bassist Cliff Burton whom they were friends with. Anthrax members include Joey Belladonna (lead vocals), Dan Spitz (lead guitar. Vocals), Scott Ian (rhythm guitar, vocals), Frank Bello (bass, vocals) and Charlie Benante (drums). Commercially, the album hit #62 in the US and #18 in the UK and critically, received much acclaim. Guitar and thunderous drums open "Among the Living." A standard metal-sounding slow pace and then Kaboom! The pace drastically picks up and we're into thrash. A crazy guitar solo. Lots of crazy guitar solos throughout this album. Their anthem "Caught in a Mosh" has a similar slower start with a strumming acoustic guitar before the thrash onslaught. Comparing the mosh pit to life struggles. Drummer Benante standing out. "Efilnikufsin (N.F.L)" doesn't even bother with a slow start. An epic guitar solo. A protest test song about drug abuse. No not the football league but read it backwards (nice f'n life). Side two begins with "Indians." Thrash with a decent melody. Die, cry for the Indians. "A.D.I./Horror of It All" is a tribute to Cliff Burton. And, yeah this does sound like Metallica circa "Master of Puppets" era. A song split into acoustic and thrash halves. Yeah, this is a great album and worthy of elevating them into the thrash elite. Great drumming,. Great guitar. Great vocals. Pace changes. Interesting and different lyrics for this style. An album to put your children to be to? Well, not quite. Annoy your neighbor? Absolutely.

"Honky Tonk Masquerade" is the second album by American country singer-songwriter Joe Ely. The genre listed is country rock. Yeah, but there's a lot more going on as well. Ely sings and plays acoustic guitar. There's also slide guitar, electronic guitar, piano, synths and an accordion. Commercially, this did not do very well but was, critically, highly regarded. "Cornbread Moon" opens things up with an acoustic guitar, slide guitar, drums and an accordion. This is bouncey. Ely has got a little twang. This actually sound like zydeco. I'm on board. "Boxcars" takes it in rock direction. Hey, an electric guitar and accordion solo. And, the songs ends with a searing guitar solo. We need more songs about trains especially if they sound like this. "Honky Tonk Masquerade" has a slide guitar and piano. Backing vocals. This is country and a very nice sounding song. The first single "Fingernails" sounds like a 50/60's pop song. A jump-jiven piano. A sax added. It's peppy. Alright. We couldn't have a country album without a waltz? Could we? No! "West Texas Waltz" takes us there. More slide guitar and accordion. And it rocks out at the end. This is a very enjoyable album. It's got a lot of variety with zydeco, country, rock and pop. The musicianship especially the guitarists is great. It is absolutely in the alt-country genre ten years before the genre. A solid recommendation.

"Scissor Sisters" is the debut album by American glam band Scissor Sisters. Glam rock, electroclash, nu-disco. Yep, always like seeing genres I haven't come across before. The album relates to LGBT life in New York City. The band members are Jake Shears (lead vocals, piano), Babydaddy (bass, keyboards, guitar, vocals), Ana Matronic (lead vocals), Del Marquis (guitar, bass) and Paddy Boon (drums). Commercially, the album did exceptional in the UK and Ireland hitting #1 and was the top selling UK album in 2004. It hit #102 in the US charts. It was also well received critically. The bouncey "Laura" opens the album. A rollicking piano and wah-wah guitar. "Where Is your love?" A strumming acoustic guitar begins "Take Your Mama." This is catchy pop and, wow, sounds a lot like George Michael's "Freedom." Shears is coming out to his mother, showing her activities of gay nightlife to bond. Very heartbreaking lyrics at the end. I have every reason to hate their disco-fied cover of Pink Floyd's "Comfortably Numb." But I don't; I kind of like this. Jake Shears and Ana Matronic perfectly re-create Barry Gibb's vocals. This should have been the version Pink Floyd did; it might have changed Pink's trajectory....or not. The fourth single "Mary" is an emotional ballad. The piano and song overall reminds me of Elton John. A nice sax fade out outro. Shears wrote this for his best friend who died of a brain aneurysm. A heavy bass dominates "Tits on the Radio." Ana Matronic on a vocals and a commentary on the conservative media. Ana continues on vocals on the last single "Filthy/Gorgeous." Disco. Fast-paced. I had a 70's flashback. And, it's about a hooker, I believe. The album closes with a slow ballad "Return to Oz." Piano, acoustic guitar and a serious tone. The horrors of meth in the gay community. A classic rock guitar solo and a creepy piano at the end. Yeah, this album had very well constructed pop songs which go into disco, glam rock, ballads and classic rock. There are fun songs and songs with some pretty serious lyrics and tones. Overall, I did like this and definitely recommend it.

"Sweet Dreams (Are Made of This)" is the second studio album by British pop duo Eurythmics. Dance pop, synth-pop and new wave. Annie Lenox on vocals and David A. Stewart on all the synths and guitar. It was their breakthrough reaching #3 in the UK and #15 in the US. "Love is a Stranger" begins with a wobbly-synth melody and a very nervous fashion beat. Annie with layered vocals. Lust and the darker side of love. Horns and a deep synth melody anchor "The Walk." Annie showcasing her powerful voice telling her lover to walk away knowing she'll likely fall into the same trap. And, the big one "Sweet Dreams (Are Made of This)" hitting #1 in the US and #2 in the UK. The iconic synth melody and vocals. Androgynous Annie in the video. Definitely, the first song I think of when you say 80's synth-pop. It's about Stewart and Annie's time after the breakup of their previous band, the Tourists, and the dreamy state they were in. The best hidden track on the album (and maybe the album overall) is "Jennifer." A bouncey synth and sounds waves. But dark and haunting. Annie whispering and talking. It's a fictional story about a woman drowning and based on an actual boyfriend of hers that died. A searing guitar at the end. The album ends with "The City Never Sleeps." A droning synth and slow driving melody. Based on Annie's move to London and not knowing what to do. This album seems to be split between poppy, dance songs (very 80's-ish) and dark, haunting synth-based songs. Those dark songs are very timeless and drive this album. Annie Lennox's voice is incredible: the range, the emotion and the emotionless. Heck, one song alone, the title track, makes this album worth a listen. But, the other darker songs are very good and worthy of listen also.

"Siamese Dream" is the second album by American alternative rock band the Smashing Pumpkins. The list of musical genres associated with them include alternative rock, grunge, alternative metal, shoegaze, pyschedelic rock, indie rock and hard rock. Quite a list and these songs do fit into each of them at times. This was a difficult recording process as frontman, guitarist and lead vocalist Billy Corgan felt pressured "to set the world on fire" and went through depression and suicidal thoughts. Drummer Jimmy Chamberlain was addicted to heroin and guitarist James Iha and bassist D'arcy Wretzky had ended their relationship. The end result worked as the album debuted at #10 on the US charts, had wide-spread critical acclaim and catapulted them into the mainstream. A drum roll, building guitar notes, the drums kick in and we're off with "Cherub Rock." Layered, melodic, driving guitars. Corgan screaming. Excellent drumming. Corgan's relationship and perception of the indie rock community. Melodic guitars strings start "Today." It's slower and no less effective. Corgan goes personally very deep touching on his depression and suicidal thoughts. A Pumpkins' classic. Guitars are again the stars in "Rocket." Loud, droning, layered guitars. It's about the Pumpkins separating themselves from other bands and in their own light. He shall be free! The production shines on "Disarm." Acoustic guitars, bells, strings. Corgan goes deep again singing about his shaky relationship with his parents. The melodic, layered guitars come a crescendo in the wonderful "Mayonaise." Starts slow, goes loud. Tempo changes. Maybe Corgans' best vocals. I'm not sure what it's about. Corgan said mayonaise was on a misprounciation the band heard in Japan. Quite possibly a love song. Well, there's no doubt the album closer "Luna" is a love song. This is more laid-back. Acoustic and electric guitars. Strings. The album ending on a positive note. This was a big album in my world back in 1993. I loved their debut "Gish" and this up the ante. Yeah, there's a lot here at 62 minutes. But, the number of melodic hooks is worth the excess. There's a number of high-level rock songs. Corgan's lyrics are very personal at times. He defintely laid a lot on the line. Not mentioned, in my first paragraph, but besides the drums, he played most the music since he knew what he wanted. This album still sounds fantastic and is one of the best albums of the 90's.

"Arular" is the debut album by British recording artist M.I.A. World music, hip hop, dancehall and dance are the genres assigned. M.I.A. wrote or co-wrote all the songs and used a number of collaborators and producers including Diplo, Justine Frischman, Richard X, Switch, Paul Byrne, Anthony Whitney and Greg "Wizard" Fleming. The album was critically lauded for blending of styles and the integration of political lyrics into dance tunes. The album title was a political code name used by her Father, Arul Pragasun, during his involvement with Sri Lanka Tamil militant groups. The album was nominated for the UK Mercury Prize and hit #190 in the US and #98 in the UK. After a short introductory song, the album lauches into "Pull Up the People." Weird synths and idiosyncratic beats. A revolutionary theme: "Pull up the people. Pull up the poor." "Bucky Done Gun" gives the funk specifically Brazillian baile funk along with musichall samples thrown in. This is very dance-like with the horns. It references the civil war in Sri Lanka. Alright, "10 Dollar" has a more mechanical, grinding beat. Very hypnotic. Child exploitation is the topic here. The second single "Sunflowers" may be the most melodic song on the album. M.I.A. rapping with Nesreen Shah singing the vocal choruses. Tribal beats. The world is divided and the good and evil lines are blurry. The first single "Galang" has a very catchy beat, weird noises with M.I.A. playing with words. Cannabis trafficking. Galang is slang for hang low. I really enjoyed the weird World and other beats. I'm always a sucker for the hypnotic and industrial and there's lots of that here. I have to admit, it took a few listens to really get into but once I did, I really liked it. It does rank up there with her next album "Kala" which is a classic.

"Come Find Yourself" is the debut album by American rap rock band the Fun Lovin' Criminals. Hip hop, alternative rock, blues, funk, jazz rap and mafioso rap are the genres. Yeah, I heard all of that. The Fun Lovin' Criminals are Huey Morgan (vocals, guitar), Brian Leiser (bass, keyboards, trumpet, harmonica) and Steve Birgovini (drums, percussion). Commercially, the album hit #7 in the UK and #144 in the US and, critically, had decent reviews. An bluesy acoustic guitar opens "The Fun Lovin' Criminal." It continues the blues feel with an electronic guitar and horns. Morgan rapping and introducing his band who rob banks, pull pranks and eat franks. They go soulful and jazzy in "The Grave and the Constant." It's got a groove. Horns, keyboards and piano. Make the most of your life even if you're up to no good. Speaking of up to no good, they're running around robbing banks all wacked off of Scooby Snacks in their big hit "Scooby Snacks." The catchy chorus. The "Pulp Fiction" and "Reservoir Dogs" samples. Scooby Snacks are diazepam (Valium). The funk gets going in "King of New York." A souful, funky beat. He's describing the gangster life and I think they're trying to jailbreak John Gotti. A searing guitar solo outro. Yeah, this album was fun. I don't even know if there's a singular style to describe their music. Morgan raps and the band plays blues, jazz, rock, funk, pop and soul. The lyrics are clever and funny. The vibe is pretty chill overall. An album worth checking out if just for "Scooby Snacks."

"S & M" (Symphony & Metallica) is a live album by American thrash band Metallica with the San Francisco Symphony conducted by Michael Kamen. It is performances of Metallica songs with symphonic accompaniments. The idea was actually that of former bassist, the late Cliff Burton. Speaking of bassists, this was the last Metallica album with Jason Newsted. The album reached #2 in the US and #33 in the UK and had decent critic reviews. The album begins with the symphony covering Ennio Morricone"s "The Ecstacy of Gold." The band enters the concert on the next song "Ride the Lightning's" "The Call of Ktulu." The strings begin to the guitar to the drums. A very large and grand sound. The next song works as well with the symphony, "Master of Puppets." These are the songs I thought worked really well with the added smphony: "Hero of the Day," " Nothing Else Matters," "Sad But True" and "One." On the flipside, I thought the symphony took away the intensity and the made the song too busy in "Enter Sandman" and "Battery." There are two new songs: "No Leaf Cover" and "__Human." Both sound like songs from "Load" or "Reload." I did like "No Leaf Cover." A soft-loud-soft dynamic. A chunky guitar solo. The strings in the background. For the most part, the strings do add and make the songs bigger and more grandiose. The song selection covers all of Metallica's catalogue. But, there is a large amount from their 90's albums ("The Black Album," " Load" and "Reload) so if that's not your favorite Metallica cup of tea, remember that. This reminded me of how good Metallica sounds live and they do sound good here too. It is risk that paid off unlike some other collaborations they made.

"The Kinks are the Village Green Preservation Society" is the sixth studio album by English rock band the Kinks. Pop, rock, baroque pop and folk-pop are the main genres with influences of musichall, folk, blues, calypso and pychedelic. It was thought of as an early concept album with a collection of character studies and based on Dylan Thomas' "Under Milk Wood" with themes of nostalgia, memory and preservation. It took the Kinks from pop hitmakers to a favored cult band. The album failed to initially chart but with reissues became their best selling album in the UK. It was also widely lauded by critics. The album begins with a simple pop song "The Village Green Preservation Society." Guitar, harmonization and piano. Lead singer Ray Davies singing about preserving things from England's past. Ray is flipping through a picture book in "Picture Book." A catchy hook with bass, guitar and vocals. So, catchy I thought I had turned on Green Day's "Warning." I believe there was a law suit there. "Big Sky" starts out with guitars, backing vocals and great rolling drums. Someone is looking down on people. Is it God? The second side begins with the wonderful "Animal Farm." Where has this been all my life? The songs starts out a lot like the Beatles' "Lovely Rita" then goes baroque. Guitar, piano and string arrangements. Great musical chorus with the guitar and piano. Anti-urban commentary. The songs take a weirder turn towards the secind half of the second side. Not unwanted. "Phenomal Cat" tells the story of a flying cat who visited exotic places. It starts out with a flute. Dave Davies' as the cat's voice. They go pschedelic in "Wicked Annabella." Drums lead to a charging guitar. Dave Davies on lead vocals as he tells the story of a witch warning the children to stay in their beds and out of the woods. He whispers. The band goes full out pyschdelic at the end....appropriately. This is a fantastic album. The flow of different songs really works. The story telling is interesting. The music is varied with tons of hooks and catchy choruses. All the instruments stand out at different times. It's very influential and you can hear it in a number of 1980 and 1990 songs. An album everyone need to listen to.

"Something/Anything?" is the third album by American musician Todd Rungren and a double album at that. Rock, pop, R&B and pyschedelia. Yep, they're all appropriate. The album is divided into four parts. The first three parts are all Todd. He played all the instruments, sang all the songs and produced it. The last part was recorded live with a band and no overdubs. The album hit #29 in the US and widespread critical acclaim. The album opens up with the first single "I Saw the Light." Piano, guitar, backing vocals. A nice and catchy melody. Easy listening pop at a high level. "I Wouldn't Have Made Any Difference" continues the pop. This is slower and pretty much a ballad. All the songs of this first section are winners. I thought the most interesting song of the second section was the instrumental "Breathless." A weird bass. A wah-wah guitar. An organ. The pace picks up. The highlight of the third part is the single "Couldn't I Just Tell You." Acoustic and electric guitars. Urgent vocals. Very melodic. A searing guitar solo. The fourth part with the band was my favorite. "Dust in the Wind" is soulful with the female backing vocals. Rick Derringer on guitar. Mike Brecker killing it on the tenor sax. No, this is not the Kansas song. His big song "Hello It's Me" begins on the third attempt. Smooth. The organ. Horns giving it a jazz feel. Maybe Todd's best vocals on a song. This is quite the one man achievement. The songs are very melodic. Three rock radio staples. I do like Rungren's next album "A Wizard, A True Star" quite a bit. But, this album has to be his pop zenith. An album that needs to be listened to all the way through.

"Madman Across the Water" is the fourth studio album by English musician Elton John and his third album in 1971. The genre listed and referred to is progressive rock. Yes keyboardist Rick Wakemen does play organ on two songs which does give it that prog rock street cred but calling it prog rock is pushing it for me. Bernie Taupin did write all the lyrics. Interestingly, it faired much better in the US, hitting #8, than in the UK where it hit #41. The album received mixed reviews. The piano lines, "Blue Jean baby, LA Lady" and we're into "Tiny Dancer." Nice slide guitar. Taupin wrote this about his wife and contrasting with California women. Oh, yeah, and that scene in "Almost Famous." Elton delivers some great vocals in "Levon." The strings make this more dramatic. Levon was born poor, now sells balloons. It's not about Band drummer Levon Helm. The dramatic music continues in "Madman Across the Water." Piano, guitar and strings. This one is not about Richard Nixon. Is it about Elton? Do yourself a favor and listen to the version with Mick Ronson on guitar. It takes it to another level. "Indian Sunset" was written after Elton and Bernie visited a Indian reservation and about an unnamed Indian warrior. Elton starts out a capella before the music kicks in. There are questions on the truthfulness of some of the lyrics but...The album ends with "Goodbye." A big symphony. Sad. Melancholy. A nice way to end. I can't say I'm a big Elton John fan but I like some of his songs and this album contains three really good ones. The musicianship is top notched. The drama with the symphony. I'm sure everyone knows where they stand with Elton but this is probably one of his best.

"Pills 'n' Thrills and Bellyaches" is the third studio album by English rock band Happy Mondays. Manchester, baggy and rock are the genres. This album and band along with the Stone Roses are seen as s bridge between the Manchester indie and rave scenes. It was produced by Paul Oakenfeld and Steve Osborne. Both had major roles with Oakenfold providing the loops and Osborne the song arrangements. Happy Mondays are Shawn Ryder (vocals), Paul Ryder (bass), Mark Day (guitar), Paul Davis (keyboards. Programming), Gary Whelan (drums) and Bez (percussion, dancer). The album hit #4 in the UK and #57 in the US. It received mostly positive reviews. "Kinky Afro" opens the album with a swirling keyboard and ascending guitars. A nice vocal chorus based off of Labelle's "Lady Marmalade." Interesting lyrics by Ryder as an ode to his Father and fatherhood. They add a slide guitar, horns and a groovy beat to "God's Cop." This rocks kind of hard. Their third single "Loose Fit" has a slower beat and a melodic 80's sounding guitar. A chill vibe. How one should approach life. "Bob's Yer Uncle" has a more Caribbean beat. A strumming acoustic guitar. Ryder is whispering and dirty talking about sex. The loud piano keys, then the beat, the whistle, Ryder talking and finally the guitar and we're off with their big song "Step On." It's a cover of a Jon Kongos' song. It's also a protest song. I love the interplay between the piano and guitar. The album ends with "Harmony." Slide guitar and high pitched piano notes. This sounds like a Flaming Lips' song. It's appropriately about being high on ecstasy. And, it's about time I mentioned drugs; it is Happy Mondays after all. This is very good album. I thought some of it might have sounded dated but I found the beats, guitar, bass and piano/keys interesting and varied. They do incorporate different styles (funk, rock, dance). A decent listen beyond their two big hits.

"Bandwagonesque" is the third studio album by Scottish alternative rock band Teenage Fanclub. Alternative rock, power pop, jangle pop, noise pop. Yeah, that fits. The album had substantial success in the US with three songs hitting the top twenty on the Billboard Modern Rock Charts. It also had wide spread critical acclaim. "The Concept" starts things off. Distorted guitar then layered guitars. Guitar-led power pop. A couple of extended guitar jams. Maybe, this is even stoner or slacker pop if those are words. This reminds me a lot of the Lemonheads. It's about a woman who's cool and hip, maybe too much for her own good. The third single "What You Do To Me" continues the guitar-led power pop. Harmonies are added. A nice short song. Distorted and echoing opens the first single " "Star Sign." There seems to be a pattern there. A faster pace and more prominent bass. Soft harmonies. They switch lead singers in 'Sidewinder' without a drop off. Nice harmonies. A harder guitar at the end. "Alcoholiday" continues the layered guitars and we get a welcome guitar jam and solo. The album closes with the instrumental "Is This Music?" Higher pitch guitars...encroaching fellowship countrymen Big Country territory. I really like this. I remember getting this album when it came out and not really liking it that much. It didn't have an edge I was looking for. Well, it still might not have an edge but I definitely have a much greater appreciation for it today. Nice melodies, layered guitars and harmonies. It has a sound that we would hear more of in the early 90's....see the Lemonheads. Definitely worth a listen.

Album #489 (1001 challenge): "Surf's Up" by the Beach Boys (1971) "Surf's Up" is the 17th studio album by American rock band the Beach Boys. The album addresses environmental, social and health concerns at the behest of newly recruited co-manager Jack Rieley in an attempt to revitalize the Beach Boys' image and popularity after recent dismal album sales and tours. He also helped co-write a number of songs. The album also saw less involvement from Brian Wilson with brother Carl Wilson taking more of a lead. The album did fairly well reaching #29 in the US and #15 in the UK. It also received largely favorable reviews. The album opens with "Don't Go Near the Water," an environmental commentary on pollution. Piano and bouncey, wobbly guitars. Al Jardine and Mike Love on lead vocals. The song ends with group harmonies. Carl Wilson takes the lead vocals on "Long Promised Road." Impassioned singing. Soulful sounds with the piano and backing vocals. Tales of life and love as we go through different stages. "Disney Girls (1957)" continues the serious tone with Bruce Johnston on lead vocals as he reminisces about simpler, more innocent times. Slower with a piano and a moog. Nice Beach Boys' typical harmonies. We get theose Beach Boys' harmonies again on "Feel Flows." Carl Wilson sings lead as he reflects on the sensitive side of life. There's a pyschedelic edge (heck maybe even prog) to this song with a guitar jam, laser sounds and a flute. One of the best songs on the album. The last three songs were written by Brian Wilson, the last two being the best. "Til I Die" has multiple lead singers. Great harmonies, soft drums and soft drumming. Death and hopelessness. "Surf's Up" was meant to be on "Smile." Horns, piano with Brian and Carl on lead vocals. Lyrics are the focal point with a man, and maybe the band, experiencing a spiritual awakening. The song ends with harmonies and criss-cross vocals. One of Brian's best songs. This is a really good album maybe the Beach Boys' last one. There's involvement from multiple members. Some of the songs are reminiscent of the older Beach Boys and others show an older, more mature band. A darker edge in the music and lyrics. An album worth going back for a listen.

"Another Green World" is the third solo studio album by English musician, composer and producer Brian Eno. It marked a transition from his first two rock- based albums towards minimalist instrumentals of his late 70's ambient work. Only five of the fourteen songs have vocals. Eno used unconventional recording techniques and instrumental approaches. As with his previous albums, he employed a core of musicians including Robert Fripp (guitar), Phil Collins (drums), Percy Jones (fretless bass), Rod Melvin (piano) and John Cale (viola). Commercially, the album didn't do much but had and continues to have wide-spread critical acclaim. "Sky Saw" opens the album with bass, keyboards, drums and guitar slashes. This is very mechanical sounding and moves like a machine. The guitar then changes and sounds like his famous "snake" guitar. Layered vocals come in midway through. Piano and what sounds like a xylophone and gong open open "St. Elmo's Fire." We get that classic, spacey Fripp guitar. He's walking through St. Elmo's fire splitting ions into the ether. "I'll Come Running" is the most pop-sounding song on the album. Piano, bass, drums and percussion that sounds Caribbean. Another great Fripp guitar solo. One of my favorite Eno songs. He will come running to tie your shoes. "Golden Hours has keyboards, guitars, Cale's viola and "spasmodic" nervous sounding percussion. Layered vocals. "Be Calmed" has just a piano and dramatic background keyboards. An instrumental. Simple and beautiful. Eno uses that magnificent long, feedback guitar sound as he did in "Here Come The Warm Jets" in "Everything Merges with Night." A bass and that guitar sound. That is all that is needed. This is a compelling listen. The mix of songs is perfect. Top notch musicianship and creative use of instruments. Dramatic, ambient, simple at times. Each song could be listened to on their own but works within the album flow. Maybe, my favorite Eno. A must hear.

"Non-Stop Erotic Cabaret" is the debut studio album by English synth-pop duo Soft Cell. Synth pop and new wave. Of course. The album was recorded on a limited budget but they were able to use producer Mike Thome's NED Synclavier which gave a unique sound. The album title was taken from a Soho neon sign and hints at the album's content. Soft Cell is Marc Almond (vocals) and David Ball (electronic and acoustic instrumentals). The album did well commercially, due to the success of "Tainted Love," hitting #5 in the UK and #22 in the US. It also received mostly positive reviews. The album begins with Almond yelling and stuttering the song's title "Frustration." Electronic bells and the song reminds me of 80's Prince. There's horns and Almond mentioning drugs and Bo Derek. Very manic...lots of these songs are manic. The electronic drums and bells in the background start their big one, the Gloria Jones' cover "Tainted Love." Loud claps. Almond's perfect, almost emotionless delivery. Not much to say other than an 80's new wave classic. I'm pretty sure they were going for the shock value in "Sex Dwarf." But, the music is great. A heavy dance beat and a dark, seductive synth. Sure, Almond and woman keep repeating "sex dwarf." Berlin would take this song template and make one of their best songs "Sex" a few years later. Marc Almond maybe is reconsidering his clubland lifestyle in " Bedsitter." Layered synths and one that sounds like a bouncey wah-wah guitar and an electronic dance beat. Almond recalls his drinking and realizes his only home is his bed. The album closer "Say Hello, Wave Goodbye" is a somewhat romantic ballad. It's slower with again a bouncey synth and drumbeat. Loud synth keys carrying the melody. Almond does his best singing as he tells his lover to get lost. This is a really good song. Yeah, I somehow really enjoyed this album. Sure the lyrics are comical and the music, like the title, cabaret and outdated at times. But the music is varied from song to song. The use of synth sounds and the drum beats are brilliant. Almond has both an emotionless and emotional delivery. Even though outrageous at times, I couldn't stop listening to his lyrics. Once in awhile, they even get serious with a deeper meaning. A surprising recommendation for an album to go back and definitely give a listen.

"Fetch the Bolt Cutters" is the fifth studio album by American singer-songwriter Fiona Apple. Art pop and bedroom pop. Bedroom pop is a new one. I'd say experimental as well. The album was largely recorded in Fiona's Venice Beach house from 2015 to 2020. The songs are long, often improvised with unconventional percussion sounds. Those percussion sounds were often created with non-music objects and contrast against traditional melodies. The songs' themes stress freedom against oppression but there is humor added in a number of songs. Commercially, the album hit #4 in the US, #33 in the UK and won two Grammy's. It had wide-spread critical acclaim and is largely considered her best album. Bass and handclaps begin "I Want You to Love Me." Piano carries the melody. Fiona's vocals are authoritative and confident as she describes her relationship with her (former) boyfriend Jonathan Ames. The vocals and music end chaotically. "Shemeika" is faster paced. A rolling piano and heavy percussion. Her friend, Shemeika, asks her why she's trying to hang with the popular crowd. "Shemeika said I had potential." Fiona starts the humorous "Under the Table" singing a capella. An organ and various random percussion noises. It's about an outrageous dinner party. Somehow, Fiona creates a catchy chorus by just repeatedly singing "If you kick me under the table I won't shut up." Heavy and various percussion noises and bass dominate "Heavy Balloon." It's about depression and wouldn't sound out of place on Peter Gabriel's fourth album ("Security"). A similar heavy percussion start "Cosmonauts" but guitar and an organ are eventually added. Haunting backing vocals. A long-term relationship is compared to being like cosmonauts. This sounds like a weird ride and one I probably wouldn't want to take. I have to admit I had a hard time connecting with this when it came out. But, today, I really connected to it. I appreciated the little details in each song and there are plenty as there's lots going on. Yes, it is heavy percussion but Fiona's voice and piano drive a good portion of the songs. She creates a lot vocal and musical "catchiness" (for lack of a better word) in each song. And that's surprising given all the supposed improvisation. I don't know if I'd recommend this for everyone (there is a lot of experimentation) but for those who want a unique experience this is a good one.

"Only by the Night" is the fourth studio album by American rock band Kings of Leon. Alternative rock, pop rock and Southern Rock. Yep. OK. This album had massive success hitting the top 10 in 10 countries. Critically, it had mixed reviews. Morse code sounds and drums start the opener "Crawl." Guitars come in and the song kicks in. It goes back soft and we get that soft'-loud-soft dynamic. He loves her but she's not into him. The fifth single (yes, 5) "Crawl" opens with eerie guitars, industrial noises and a drum beat. Slashing guitars. This song is driven by the bass and drums. I think it's about the downturn in US socially and globally. Interesting song. "Sex on Fire" was written about lead singers Caleb Followill's model girlfriend. Guitar strings, drums, bass and then a urgent guitar comes in. Catchy chorus. I admit to liking this song when it came out until it was extremely over played. Everyone needs a power ballad. Right? Well, they got one in "Use Somebody." The "oh, oh, oh, oh, oh''s." Slower guitar and the requisite guitar solo. I like "Sex on Fire" better. The third single "Revelry" continues the slower pace. What sounds like electronic drums, slide guitar and a very prominent bass. Caleb regrets partying too much which ended the relationship. This is a pretty good song. The fourth single "Notion" features layered guitars with the guitars and piano driving the chorus and melody. A slide guitar. He wants to go back home but he can't before he apologizes which he's struggling to do. This album is at best OK for me, I guess. There are catchy choruses and the musicianship is solid. I have absolutely no idea why there are two Kings of Leon albums in the top 1,001. But there are and this one was huge commercially. If you like Kings of Leon you probably already have this. If you're debating whether to listen to this, revisit the last few reviews I did and go there.

"BEYONCÉ" is the fifth studio album by American singer Beyoncé. The album's music combines contemporary R&B with electronic and soul music. The album was released as a complete surprise which changed the days albums are released from Tuesday to Friday. I did not know that. It is a visual album with each song accompanied by a short film. There are dark feminist themes of sex, monogamy, beauty standards, relationship standards and criticism of capitalism. Multiple producers were involved. Commercially, the album hit #1 in the US and #2 in the UK and had wide-spread critical acclaim. The first song "Pretty Hurts" starts out with a speech in which Beyoncé proclaims her aspiration in life to be happy. Pulsating keyboards and a snappy beat. Beyoncé's strong and beautiful voice comes in. The music and vocals then soar. The song was written by Sia, Ammo and Beyoncé and originally intended for Katie Perry or Rihanna. Their loss. A high pitched voice begins "Drunk in Love." Beyoncé states that she's been drinking and thinking. Swirling keyboards and somewhat a ballad but also has a hip hop feel at times. Jay-Z comes in midway through. Lust and love. The first half of "Partition" is hip hop. Beyoncé rapping. There's a break and the music comes back with a heavy electronic beat. We're in clubland. This is an interesting trip. The first single "XO" opens in a controversial way with a sample from NASA public affairs right after the Space Shuttle Challenger disaster. Wobbly keys then begin the music. Beyoncé's echoing vocals. Beats come in. This is a love power ballad. The music builds throughout with more electronic elements added. The album closes with another love ballad in "Blue." This is more of a simple love song. Piano and subtle electronic beats and synths. It's good to end of a positive note. This album is quite a listen. Every song does feel like it's own story. Dramatic. Great production. Some songs are easy to listen to with a chill and R&B/souful feel while others take you to the dance club. Elements of hip hop are also ocassionally present. It's quite easy to see why she's a superstar; the music is well-produced as mentioned but Beyoncé's voice takes it to the next level up. This is a good place to start if you have no idea what "good" and relatively current popular music can be.

"Crossing the Red Sea with the Adverts" is the debut studio album by English punk band the Adverts. The Adverts were one of the first punk bands to achieve chart success in UK. This particular album hit #38. The bandmembers included T.V. Smith (vocals), Gaye Advert (bass, vocals), Howard Pickup (guitar, vocals) and Laurie Driver (drums). This album also received critical acclaim. A screeching guitar with feedback opens "One Chord Wonders." It kicks in. Smith is screaming. Full-on punk. A fuzzy guitar carrying the melody. No one is at their concerts and they don't care. "On the Roof" has a creeping guitar. This sounds more like 60's garage and pyschedelic rock. He's loose on the roof waiting. Their UK hit single "Gary Gilmore was not on the original release but appeared on reissues. How can I not mention a song about a patient receiving the eyes from executed murderer Gary Gilmore. True story: several of his body parts were used for transplants including his corneas. And the song is great: catchy vocal and musical choruses. The third and final single "No Time to be 21" begins the second side. More driving rock with drums and bass. Gaye Advert gives a bass jam. I has to mention her. Ah, no hope at 21. A thumping bass and drums again star on "Safety in Numbers." Echoing vocals and more of a hard rock guitar. Hipsters and posers riding the new wave "wave." They end the album appropriately with a more punk song in "Great British Mistake." Their only political song of sorts that I could decipher. Maybe a more social though as Smith comments on people not changing when they should have. This is a great, early punk-era album. The music is punk at its core but there are songs with elements of hard rock and pyschedelia. For the most part, the song themes are teenage alienation and being on the fringe of society and popularity....very punk. Yeah, maybe the next time you reach for the Clash's first album or the Ramones give this a spin.

"Buena Vista Social Club" is a studio album by Buena Vista Social Club, an ensemble of Cuban musicians directed by Cuban bandleader and musician Juan de Marcos González and American guitarist Ry Cooder. The purpose of the album was to bring back traditional Cuban musical styles of trova and filin, mellower versions of son cubano and bolero and also danzón. The album had commercial success becoming the biggest selling world music album, was critically well received and in 2022, was put in the National Recording Registry by the Library of Congress for its artistic significance. The album opens with "Chan Chan" performed by its writer Company Segundo. The style is an example of son cubano which blends elements of Spanish and African music. Cooder on guitar. The beat carried by congas and bongos. It's slow. A trumpet comes. The highlight are Segundo's and the backing vocals. "Pueblo Nuevo" is a danzón instrumental. Rubén González is on the piano. He also stars throughout this album. Syncopated beats with the güiro and udo drum. The trumpet comes in midway through. An interesting style which paces at a 2/4 time signature. Bolero is the musical style most heard on this album with five songs. The first one "Dos gardenias." Ibrahim Ferror on lead vocals in this romantic style and song. A seductive trumpet. Slow featuring Rubén González again on piano with congas and udo drums keeping the beat. "Candela" gives us a brief break from the bolero and goes back to the classic son cubano. Multiple singers. A more complex percussion beat. Cooder on slide guitar. The self-titled "Buena Vista Social Club" is a danzón; this sounded very jazzy. Piano and a cast of percussion instruments including maracas. This album was very enjoyable and educational for me. I defintely gained an appreciation for the different styles of Cuban music. There was a similar album "A Toda Cuba le Gusta" by the Afro-Cuban All Stars released at the same time which I need to checkout. For those of you willing to check out a different musical style "Buena Vista Social Club" is worth the effort.

"Slipknot" is the debut album by American heavy band Slipknot. The music is put in the nu metal genre but really spans several heavy genres. Extensive percussion and a heavy sound is the best descriptor. The album was the first and last one with guitarist Josh Brainerd. Commercially, the album hit #51 on the US and #37 on UK charts. It was critically well received. The album opens with two songs combined "742617000027" and (sic)." Guitar scratches and repeating samples. Heavy, pounding, fast drums. Lead singer Corey Taylor screaming. An eerie guitar. Oh, this is speed metal. 74217000027 was the barcode of their demo album "Mate." In their first single "Wait and Bleed," Taylor actually sings and then screams. It goes back and forth. The music follows with thrash/speed metal to softer, more melodic. At any moment, a civilized human can go crazy. Very metal. A swirling wind sound begins "Spit It Out." Taylor now rapping. Musically, the beats are constantly changing. "We had to shoot you down. We want to spit it out." We get a sawing sound on the epic album closer "Scissors." An industrial sounding guitar. The song chugs along and builds with the percussion. As with a number of these songs, it ends chaotically. Taylor sounds like he's dying. He might be. I needed a punch in the head this morning to wake me up; this delivered that. I think this only got lumped in the nu metal category due to the time it came out and that Taylor does rap a few times throughout the album. This is fast, hard and loud. I liked it for just that reason. They do show signs of an actual melody in a few of these songs which I found to be their best. If you're a thrash/speed metal fan, you'll dig this and probably already have.

"London Calling" is the third studio album by English rock band the Clash and a double album at that. The music goes beyond their punk rock roots including influences of reggae, rockabilly, ska, New Orleans R&B, pop, lounge jazz and hard rock. Lyrical themes include social displacement, unemployment, racial conflict, drug use and responsibilities of adulthood. Commercially, the album reached #9 in the UK and #27 in the US. It also had wide-spread critical acclaim with many considering it one of the best albums of all time. An ominous, anxious guitar opens "London Calling." A building bass. Joe Strummer singing. Some eerie vocals. The song was based on the Three-Mile Island nuclear accident and mentions unemployment, racial conflict and drug use. Not a bright future. The harmonica and Bo Diddley riff and beat highlight "Hateful." Somehow upbeat sounding but lead singer Joe Strummer stresses an anti-drug theme and drug addiction. We get a little more of that Bo Diddly beat and riff in "Rudie Can't Fail." However, horns are added and the song sounds like a soul-reggae-rock fusion. Co-lead singers with Strummer and Mick Jones. A fun-loving young man criticized for his inability to act like an adult. The band really brings out their pop side in "Spanish Bombs." Melodic guitars and great backing vocals by Jones. Strummer compares modern day tourism in Spain to the lingering effects of the Spanish civil war. Speaking of melodic guitars, "Lost in the Supermarket" has that and fantastic drumming and bass. Great lyrics and more solid vocals from Jones. A melancholy feel with a critique on consumerism. He's looking for a personality in the supermarket. The band amps up the rock on their second single "Clampdown." A harder edge guitar. Strummer urging people to reject the status quo. "Death or Glory" has one of my all time favorite opens to s song. The guitar, the bass and drums start slowly, build and then explode. An examination of the complications and responsibilities of adulthood. Another great build-up is "The Card Cheat." A piano-lead melody and horns. Some might think of this as a filler but it's one of my favorite songs on the album. A man gets caught with a card up his sleeve and gets shot to death. An analogy to the British Empire? A last minute addition and maybe the most recognized song on the album is the closer "Train in Vain." The harmonica. The groove. A simple song of getting rejected. Needless to say, this is a great album. The sheer amount of very good to great songs is impressive. The production by Guy Stevens is excellent. I noticed a lot of noise sound drops perfectly placed. Also, just listen to the demo of "Hateful" to what it became. Sometimes lost in the mix is the wonderful drumming and bass play from Topper Headon and Paul Simonon. The music is varied and besides some of the song contents, one would not recognize that this came from a band with punk rock roots. A true classic in every which way.

"Cupid & Pysche 85" is the second album by British pop band Scritti Politti. Lead singer and musician Green Gartside took the music in a commercial pop direction with more state-of-the-art production. Because of this, he was only member from their first album to remain. Other newer members included David Gamson (keyboards) and Fred Maher (drums and electric drums). Gartside added both of these guys as the album began recording in New York. The lyrical themes address issues of language and politics. Commercially, the album did very well in the UK hitting #5 with three singles reaching the UK top 20. It also received generally positive reviews. "The World Girl" opens the album with a reggae beat. Wow, Gartside does have a high-pitched voice. The melody is keyboard-driven and very much pop. Easy, soft and light in a good way. "Absolute" gets a dance beat going..very 80's. A prevalent bass sound. Cascading keyboard. The keyboards keep driving the melody in their big one "Perfect Way." It struck me during that Gartside is trying to capture a 80's pop R&B sound in a Prince sort of way. And, he doing a pretty good job. A pop dance beat, catchy chorus, horn sounds and we get a keyboard jam. " He has the perfect way to make the girls go crazy." "Wood Beez (Pray Like Aretha Franklin)" starts a little harder with a deep bass and heavy electronic drums. R&B guitar slashes. The album closer "Hypnotize" keeps the horns going. Weird beats and bass noises. This has a groove. Great backing vocals by B.J. Nelson I guarantee in 1985 at 17, I would not have given this album the time of day. It is very pop and maybe besides one song not an edge to anything. Fast-forward 38 years later and I actually appreciated the pop they were trying to make and they did it at a high level being very well produced. The music absolutely captures the 80's pop sound. This a very good album to go back to and hear some well-made pop-dance songs.

"Beautiful Freak" is the debut album by Los Angeles rock band Eels. Alternative rock is the genre. I'll agree there. Eels are "E" - Mark Oliver Everett (vocals, guitar, piano), Jonathan Hayes "Butch" Norton (drums, backing vocals) and Tommy Walter (bass, backing vocals). Commercially, the album did really well in the UK reaching #5 (#114 in the US). Critically, it had mixed reviews. The album leads off with their hit "Novocaine for the Soul." Bells, a beat and orchestral strings. Lush and layered with the guitars. Sampling Fats Domino. He needs novocaine before he sputters out. Catchy song. That catchiness continues in "Susan's House." This slows things down. Piano led. A song about his girlfriend's house. "Rags to Rags" gets the rock out. Guitar led. Always love the soft-loud-soft. E moved to LA poor and, well, pretty must stayed poor. "Beautiful Freak" is slower and piano-led melody with strings. This has a real sad/melancholy feel. Another song about E's girlfriend. A banjo begins "My Beloved Monster" which changes to a guitar-led melody. We get the soft-loud-soft again. I'm reminded of the Flaming Lips. It's a moving song maybe about his schizophrenic sister who ended her life. "Your Lucky Day in Hell" goes even darker. Ominous and darks guitar and keys. Underlying synths with a slow beat. E's trying to be optimistic but he can't. This album really grew on me after a few listens. The songs alternate between softer (piano-led) and harder (guitar-led). I even thought they ventured into shoegaze land. Nice arrangements. The overall tone is sad/ melancholy, sometimes quirky but nonetheless compelling. E's voice is perfect (smokey, deep) for his lyrics and reminds me of Jeff Tweedy. And his lyrics can be dark. I think most people would like this especially the singles.

"The Libertines" is the second studio album by English rock band the Libertines. Garage rock and indie rock are the listed genres although they seem to sneak into many other genres at times. The album's main theme revolves around the actual relationship between bandleaders, vocalists and guitarists' Pete Doherty and Carl Barât. Doherty had serious drug issues and prior to the recording of this album spent six months in jail for breaking into and robbing Barât"s flat. Commercially, this album hit #1 in the UK (#111 in the US). Their first single "Can't Stand Me Know" opens the album. Dual guitars keeping the melody. A cowbell. Dual lead singers. The song starts slow and picks up the pace. A catchy song. It's about the Doherty-Barât relationship. Pounding drums strat "Last Post on the Bugle." That similar high-pitched guitar. This one talks about Doherty's breaking into Barât's apartment. The band takes "The Man Who Woul Be King" in a bluesy way, both the Bo Diddley beat and riff. This song speeds it up. "Music When the Lights Go Out" layers acoustic and electric guitars. This pretty much classifies as a punk ballad. "What Katie Did" moves in a pop direction. Doo-wop sounds and lyrics. Nice melody. "What Became of the Likely Lads" closes the album. Sloppy guitars . A clicky- clock beat. It's poppy and upbeat musically even though it appears to be about Doherty's actions blowing it for the band. Overall, this is a decent album. Melodic, catchy, poppy, low-fi and sloppy. They slide into punk, rockabilly and blues as well as garage rock. I do appreciate the self-deprecation and honesty of Pete Doherty in the lyrics. There are enough good songs to recommend this album but I believe I like their debut album better (it's been awhile since I listened to that).

"Back to Basics" is the fifth studio album by American singer Christina Aguilera. It is a double album with the first disc/side being a fusion of old-school R&B, soul and jazz with hip-hop and pop elements and the second disc/side being pop with original songs. Aguilera was the executive producer and used a wide range of producers including DJ Premier, Rich Harrison, Rob Lewis, Mark Ronson and Linda Perry. Commercially, it hit #1 both in the UK and US and critically had generally favorable reviews. The first song "Intro" starts with a guy taking. Hip hop beats, soulful singing. Aguilera is paying respects to everyone before her. This leads into "Makes Me Wanna Pray." Yeah, Aguilera can sing and sing forcefully. A gospel choir and very high production. The first single "Ain't No Other Man" comes out with horns. A jazzy vibe with scratching. Start-stop with the drums. A catchy song. Horns highlight "Slow Down Baby." Another strong open. More in the R&B area. "Oh Mother" slows it down. Piano, dramatic and melancholy. About her childhood with her abusive father. "Candyman" is one of the highlights of disc/side two. It's swing music. The beats. The horns. Poppy and catchy. I mostly always appreciate stripper music at some level and "Nasty Naughty Boy" has it throughout. Horns. Jazzy. Playful in the lyrics and singing. Another big hit off this album was "Hurt." Slow, a ballad, piano. Aguilera's voice soars. It's about the loss of a loved one. This album really was the tale of the two sides. The first side was high in production, technically sound in music and showed Aguilera's powerful and at times soulful voice. But, even though it's solid it didn't really totally grabbed me. Side two was much more fun with playful lyrics, looseness and music...but, definitely had some filler. Overall, this album was way too long and should have been trimmed. However, this is solid pop music and a good representation of pop music in the 2000's.

"Made in Japan" is a double live album by English rock band Deep Purple. It was recorded during Deep Purple's first tour of Japan in August of 1972. Deep Purple's record company thought it would be a good idea. Their producer, Martin Birch, recorded the shows with an 8-track recorder. No overdubs were used in the final product. The album hit #6 in the US and #16 in the UK. Critically, a lot recognize this as one of the best live albums of all time. A drum roll, the organ is added, the bass keeps getting louder, the guitar comes in and we're rockin' in the opener "Highway Star." Man, does this sound good. Ian Gillan screaming. A mind-melting guitar solo by Ritchie Blackmore. It doesn't get much better than this. The excellence continues in the 12-minute "Child in Time." I didn't realize Deep Purple had jam band and prog tendencies. They sure show it off here with long guitar and organ solos. Ian Gillan gives a short explanation on the origin of "Smoke on the Water." Their recording area was burnt down during a Frank Zappa concert. The iconic guitar riff begins the song with the bass and drums coming in like thunder. That must have been quite an experience. The song stays true to form for the most part with short solos. "Lazy" starts out with two minutes of guitar feedback, then two minutes of an organ solo and finally kicks in at the four-minute mark. This is very Allman Brothers-esque. They go back and forth between solos and jam banding. "Space Truckin'" closes the album. A long intro. And then "Common, Space Truckin'." The song ends (an 11-minute ending) with various jams and solos. However, never a dull moment. A particularly interesting part where Blackmore makes his guitar sound like a spaceship. This album is just fantastic: a band in full-throttle mode, just jamming. Each song does have some level of instrumental solos. It is the 70's afterall. I did not find them unnessary or overly bloated; some may. I agree with the critics: one of the best ever live albums (at least from what I've heard).

"Music" is the eighth studio album by American singer Madonna. In reponse to the pop chart dominance of acts such as Britney Spears and Christina Aguilera, Madonna collaborated with Mirwais Ahmadzi and William Orbit to go in a more experimental direction. The album incorporates elements of house, funk, country and folk into the overall dance-pop and electronica styles. It worked as the album hit #1 in 15 countries including the US and UK. There are overall themes of partying and love differing from her previous album "Ray of Light" which was more introspective. Critically, the album had mostly positive reviews. The self-titled song "Music" opens up with a vocoder. It then kicks in with a funky beat and synth. The beat continues with strange synth sounds. She just wants to dance with her baby. "impressive Instant" takes the dance music to the club level. A deeper bass and beat. Synth space sounds. More use of the vocoder...almost stepping into Daft Punk territory. A love at first sight song. Slow synth keys begin "Amazing." The music kicks in. A echoing, reverbing guitar and prominent bass. Electronic beats. Great, haunting guitar breaks reminding me of David Bowie. My favorite song on the album. An acoustic guitar starts and stops and starts begins "Don't Tell Me." Country meets electronica here. An electric drum backbeat. Strings are added. She urges her lover to stop controlling her. Why not venture into the ambient and that is what she does in "What It Feels Like to be a Girl." An ambient synth melody and underlying electronic beats. The ambience builds. She condemns male chauvinism and urges men to imagine themselves as a girl. This is a very, very good album. Not one song really fits into any one category. There's funk mixed with club dance, both rock and country with electronica and even the ballads have dance/electronica elements. A very high production level as one would expect. I didn't hear one song not worth a listen. A strong recommendation.

"Ogdens' Nut Gone Flake" is the third and final studio album by English rock band Small Faces. The music covers a variety of styles including hard rock, pyschedeia, soul-influenced, ballads and music hall. The second side is a concept album involving a fairy tale involving Happiness Stan who goes on a quest to find the other half of the moon. The narration is done by comic performer Stanley Unwin. Believe me, more on this later. Small Faces are Steve Marriott (vocals, guitars, piano, bass), Ronnie Lane (vocals, bass, guitars), Ian McLagan (organ, piano, harpiscord) and Kenney Jones (drums). The album title and packaging design parody the tobacco tinned product, Ogdens' Nut Gone Brown. Commercially, the album hit #1 in the UK. The self-titled instrumental "Ogdens' Nut Gone Flake" opens the album. A wah-wah piano pedal start. The drums and bass and a pychedelic vibe. A string section comes in. "Afterglow" is a soul-influenced power ballad and a great one at that. Whistling, hand clapping and a more full rock sound. Great vocals by Marriot. This was very Beatles "White Album" and the Who-sounding. They get the rock groove going on "Song of a Baker." Great, massive drumming by Jones. The first single "Lazy Sunday" adds a Cockney accent. A rollicking song that goes in a music hall direction. And we head to side two to meet Happiness Sam in "Happiness Sam." Music begins the song with harpiscord and heavy organ. Folk. The drums are added. The music stops and we are introduced to Happy Sam who wonders why half the moon is missing. So begins his quest. Over the next three songs, musically, we get more rock, the flute, acoustic guitar and pyschedelia. Stan meets a fly who takes him to a person who can answer his his question. Stan used a lot of words and confusion to get us to this point. But, he gets his answer, I think, in meeting Mad John in the song "Mad John." The song is slow rock and was released as a single. From what I could tell, Mad John told Stan that the sun will eventually become whole. The album ends with the stomping rock of "HappyDaysToyTown." The band rocks and jams and goes pyschedelic. A good way to end things. The randomizer was again not so random as I just did a sync listen to this album on Sunday. This is really a album of two sides. The first side was great giving us variety with a big sound. Pyschedelia, hard rock, music hall, a power ballad. And then we have to deal with Stan on the second side. The music was still great similar to side one. Stan can be very annoying. I had trouble following the story even after I knew the story. It is kind of comical, I guess. Overall, the music is terrific which outweighs whatever you may think of Stan.

"A Rush of Blood to the Head" is the second studio album by British rock band Coldplay. The music on this album made greater use of the electric guitar and piano than their debut. Commercially, the album was successful hitting #1 in the UK and #5 in US. It was also mostly critically acclaimed and won a Grammy for Best Alternative Album. "Politik" opens the album dramatically with pounding drums, piano and guitar. It slows down with lead singer Chris Matin singing softly. It does the back and forth and builds as the song progresses. That's a common song structure throughout this album. It's about a reflection of the world at this time. A chiming guitar highlights the first single "In My Place." How you're put in the world and deal with it. "God Put a Smile Upon Your Face" has a melancholy guitar and overall vibe. The music is subdued but builds to a chorus. The band continues the melancholy in "The Scientist." A song influenced by George Harrison and about girls. A strumming acoustic guitar, piano and string are added. A pretty good guitar solo and another song that builds momentum towards the end. Swirling piano keys and strings again begin their big one "Clocks." This song was influenced by Muse (I guess I see that). Contrast, contradictions and urgency. The album closes with "Amsterdam," one of my favorite songs on the album. This song maybe does the best job of the soft-loud-soft dynamic and builds towards a climax at the end. Its about someone at the end of their rope. Yeah, these are all, well constructed and produced songs. The first five songs are still US radio staples. The one thing I noticed while taking notes is that I was basically taking the same notes for each song. Not bad but maybe that's the problem, nothing too exciting either. Kind of vanilla. They were a great concert band then and I'm sure they still are. This is an album that if you like solid adult rock songs without too much of edge is for you.

"I'm a Lonesome Fugitive" is the third studio album by country music singer, songwriter, guitarist and fiddler Merle Haggard and his band the Strangers. The song "I'm a Lonesome Fugitive" brought Haggard country music stardom. The Strangers included Ray Nichols (guitar), Ralph Mooney (steel guitar), George French (piano), Jerry Ward (bass) and Eddie Burns (drums). The album hit #3 in the US Country Charts and #165 in the US Pop Charts. The lead single "I'm a Lonesome Fugitive" was written by Liz and Casey Anderson and is based on the TV show "The Fugitive." Acoustic, electric and steel guitars playing. Great strong vocals by Haggard and backing vocals by his wife Bonnie Owens. He's runnin' from the law. It's hard to find a country album without a waltz and we get that right away with "House of Memories." Piano more in the forefront. Great steel guitar. Outstanding lyrics as his house is a prison. Speaking of prisons, Haggard was in prison and attended one of the Johnny Cash 1960 shows that would become the "At San Quentin" album. It's no wonder when Haggard sings "Life in Prison," it sounds authentic. More great harmony vocals by Owens and steel guitar by Strangler Ralph Mooney. Not all country has to be slow and "If You Want Be My Woman" gets the country dance beat going. A pouncing piano. Layered guitars and a guitar fade at the outro. Haggard does a cover of Jimmie Rodgers' "My Rough and Rowdy Ways." The steel guitar is more bluesy. The bass is loud and prominent. He wants to settle change and settle down but can't. This is a superb album. Great lyrics. Tremendous vocals by Haggard and harmony vocals by Owens. Top notch musicianship. He's checks all country song boxes: songs of love, about being down and out and being an outlaw. An album everyone needs to listen to no matter what your musical preference may be.

"Walking Wounded" is the ninth studio album by British musical duo Everything But The Girl. Following the recent success from the single "Missing," the group adopted a more electronica-based style. Others styles incorporated include downtempo, drum and bass, sophisto-pop techno and trip hop. The group is vocalist Tracey Thom and Ben Watt who does everything else - guitars, synths, beats, etc. The album hit #4 in the UK and #37 in the US and was very well received critically. The fourth and final single "Before Today" opens the album. Dreamy, cold synths. Quick electronic beats. Very chill. Thom wants your love but her heart is harder. The beats in "Wrong" are more upbeat and dance, definitely house influenced. Layered vocals. She's in a relationship she shouldn't be in. The ever-changing beats from song to song continues and this time we're more downtempo in "Single." Thom's emotional, longing voice. She's separated from a partner and doesn't know what to do. I'm waiting for her to be in great relationship where everything is great; ain't happening I'm thinking. "Walking Wounded" has idiosyncratic beats and slides into the drum and bass genre somewhat. Ambient synths. She still wants him even though he punishes her by not wanting it. Hey, there's a ballad of sorts in "Mirrorball." Acoustic guitar and downtempo drums. Trying to get past her mistakes. This album has a chill vibe and is seductive sounding. The cold dance music contrasted with Thom's soft emotional vocals. The songs have a pop structure but keep it interesting with various genre elements - trip hop, downtempo, house and others. The music has a hypnotic feel with its repetitive beats. This a very good album that mostly everyone will like to some extent.

"Dig Me Out" is the third studio album by American rock band Sleater-Kinney. It is considered their breakthrough as they changed labels to Kill Rock Stars to get a wider audience. It was also the debut of drummer Janet Weiss which solidied their sound. And their music? Some say punk. Yeah, that fits but ultimately it's just rock and roll. The music and album cover were influenced by and paid homage to the Kinks' "The Kink Kontroversy." Besides Weiss, Sleater-Kinney is Carrie Brownstein (guitar, vocals) and Corin Tucker (vocals, guitar). According to Carrie Brownstein, all the songs are about her relationship with Corin Tucker and Tucker's relationship with her future husband, Lance Bangs. The album had wide-spread critical acclaim. A guitar riff and in comes the pounding drums as "Dig Me Out" starts. Corin screaming, howling. This is very much in your face. Corin's trying to get out of a relationship (with Carrie?). "DIg me out, Dig me in, the mess we're in." Well, there's no doubt what the next song is about. "One More Hour" is about the Carrie-Corin break-up. Dual layered guitars, both with melodies to die for. Corin's emotional lead vocals. Carrie's criss-cross backing vocals. "Oh, you've got the darkest eyes." The speed up. The slow down. This is one of the best songs of the 90's and one of those you want to play again after it's over. "Turn It On" has more in-your-face lyrics. Handclapping. A nice rock-pop melody. "Words and Guitars" has a catchy chorus and more criss-cross vocals from Carrie and howling from Corin. She's contrasting what music is expected of girls to play and what they play. I wouldn't want to get into an argument with her on this. They continue the counterpoint and protest to traditional feminist roles in "Little Babies." Bringing the catchy chorus "dum dum dee dee dum dum dee dum yeah." A a great Carrie guitar solo. "Buy Her Candy" has just a guitar and Carrie's voice and is one of the strong songs on the album as she likes a girl even though she's fickle and selfish. "Dance Song '97" brings a dance beat. Yeah. Melodic layered guitars and what appears to be a simple song about being in love. This is a great album and one of my favorite of the 90's. Catchy vocals and melodic hooks. Corin's voice is a thing of power and emotion. Urgent sounding guitars. Pounding drums. An outpouring of personal lyrics in the songs. No Sleater-Kinney album is a bad listen and this one is up there with "The Hot Rock" and "One Beat" as their best.

"Born in The U.S.A." is the seventh album by American singer-songwriter Bruce Springsteen. It was recorded with the E Street Band and with Chuck Plotkin and Jon Landau producing. The music has tighter songs being brighter and more pop-influenced with more prominent synthesizers. The album was recorded over two years with Springsteen writing over 80 songs. The lyrics of the songs on the album explore themes of disillusionment, patriotism and personal relationships. Commercially, the album was a massive hit reaching #1 in the US and UK and had wide-spread critical acclaim. The keyboard melody and drums start the album opener "Born in The U.S.A." The band kicks in and we have very much an anthem of a song. Of course, this song was widely misinterpreted as pro U.S.A. when in reality it was about the difficulties of returning working-class Vietnam vets. Outstanding drumming by Max Weinberg. "Cover Me" was actually written for Donna Summers. A shared keyboard/guitar melody. What is the song about? Springsteen looking for money by having people cover his songs? Vietnam vet PTSD? I don't know but a pretty good song. Synths and clock-ticking beats highlight the more melancholy "I'm on Fire." The protagonist wants a girl who is already with somebody. "No Surrender" starts the second side which is one of the best album sides in rock history (in my opinion, of couse). This song was almost not included on the album since Bruce couldn't finish it. He knew it was the best song on the album (and it is) and was finally convinced by guitarist Steven Van Zandt. The drumbeat, the rolling piano and "ohhhh's" begin the song. The band and Springsteen play this with such urgency. I've always interpreted this song as "don't give up" and I'm sticking to it. The vocal chorus "ohhhh's" end the song as well. And right on the heels comes the more melancholy "Bobby Jean." Keyboards, synth and the big man on the sax drive this song. A farewell to Van Zandt as he was to leave the E Street Band. Guitars and the sax highlight the sixth single "I'm Goin' Down." A prominent bass also. Frustration in a deteriorating relationship. The mood switches to upbeat in "Glory Days." Reminiscing about the past and baseball. The band is having fun. Towards the end of the album recording, producer Jon Landau challenged Springsteen to write a hit single. The next day Bruce came back with "Dancing in the Dark." Synth melody. Great sax. And yes, I did have a crush on Courtney Cox because of the video. Interestingly, the album closes with the subdued "My Hometown." Bruce gets nostalgic looking at the past which included racial violence and economic depression. Sometimes, it's challenging writing about an album you know so well. What helps is that by taking notes, you kind of listen to it differently which helps somewhat. And what can you say about this, other than it still sounds great and some of his lyrics are still relevant today. The band's energy is something you notice right away. They are in full flight and I can't think of them sounding better on any other album. The songs rotate between anthems and more melancholic ones. The use of keyboards and synthesizers is very prominent compared to his other albums. The highest of recommendations from me.

"Rock Bottom" is the sevond solo album by former Soft Machine drummer and English musician Robert Wyatt. Art rock, Canterbury scene, prog and pyschedelic rock are the assigned genres. I'd also say experimental...very experimental. The album was recorded following a 1973 accident which left Wyatt a paraplegic. It was produced by Pink Floyd's Nick Mason. Wyatt was the lead vocalist and played keyboards, percussion, slide guitar and, yes, wine glasses. Wyatt employed other musicians including Mike Oldfield (guitar), Gary Windo (bass clarinet, tenor sax), Ivor Cutler (voice, baritone concertina and harmonium), Richard Sinclair (bass), Hugh Hopper (bass), Laurie Allen (drums) and Fred Frith (viola). The album received much critical acclaim. "Sea Song" opens the album with a piano and a lingering drone sound. This is slow with instruments appearing randomly in an improvisational sort of way. The vocals are meandering and mostly sounds. "Last Straw" also starts with a piano although with an ominous tone. We also get the clicking wine glasses. Side one ends with "Little Red Riding Hood Hit the Road." Horns making random noises. This song really reminded me of Radiohead's "National Anthem." "Alifib" is the name of his lover, I believe. Hey I was able to understand something. This song has a synth note holding long creating an ambient vibe. There's random guitar noises. There's a guy panting. And, the song goes right into the next song "Alifie." Rapid percussion. Piano and horns makes this more jazzy. "Little Red Robin Hood Hit the Road" closes the album. A marching band drum beat. The keyboards creating a droning noise. Meandering guitars. And it ends with strings and distorted guitars. Woah! I do recognize the achievement of Wyatt being able to record this album six months after becoming a paraplegic. Honestly though, I had trouble completely connecting with this. Random noises, the droning sounds, unintelligible vocals. Yeah, this falls mostly in the experimental music genre. And, typically I'm all about that. The best parts of this album sound like Radiohead's "Kid A." If your a big fan of "Kid A," there is a chance you might like this. And, maybe someday I will too.

"Parsely, Sage, Rosemary and Thyme" is the third studio album by American folk duo Simon & Garfunkel. The album is acoustic pieces with songs Paul Simon mostly wrote in England the year before. The duo was given four months to record with considerable freedom unlike their previous album "The Sounds of Slience" which they felt was a rush job. Commercially, the album hit #4 in the US and #13 in the UK. It was well received critically with many critics considering it their breakthrough album. "Scarborough Fair/Canticle" is an interesting opener with the traditional English song juxtaposed with a counterpart song "Canticle," a reworked song from Simon's debut album. Acoustic guitar (used in all of these songs), harpsichord and chimes. The first album single was "Homeward Bound." The drums control the pace picking up and slowing down. A song of longing. The first side ends with "The 59th Street Bridge Song (Feelin' Groovy)." This song has a folk groove going. Simon whispering. A simple song about a careful morning. Strings are added to the second single "The Dangling Conversation." A noticeable bass. The guitar sounds like it's being finger picked. About a dying relationship. Some more finger-picking guitar on "For Emily, Whenever I May Find Her." Art Grafunkel takes the lead. A subtle, beautiful love song. The album comes full circle with the closer "7 O'Clock News/Silent Night." This times the boys are singing Silent Night which is juxtaposed with a guy reporting the news of the day including the Vietnam War, civil rights and the death of Lenny Bruce. A shout out to the Chicago suburb of Cicero which gets a mention. A lot to like about this album. The songs are varied and change from song to song. The music style is more than folk including jazz, pyschedelic rock and bluegrass elements. Listening to this, one should not be totally surprised where Simon went in the 80's. The lyrics include love, political, everyday life and funny songs. The strength of Simon's songwriting is clear and evident. A classic.

"The Scream" is the debut album by British rock band Siouxsie and the Banshees. It is considered "a landmark recording with an innovative combination of angular and serrated guitars with bass-led rhythms and machine-like drums" and "a pioneering work of the post-punk genre." I really can't add much more to that. The bandmembers included Siouxsie Sioux (vocals), Steven Severin (bass), John McKay (guitar) and Kenny Morris (drums). The album reached #12 in the UK and had wide-spread critical acclaim. The first song "Pure" is mostly an instrumental but we get a sense what the band is: angular, high-pitched guitar, heavy bass and Siouxsie howling. This leads into "Jigsaw Feeling." Thumping bass, pounding tom-tom drums and that same guitar sound which does sound like a jigsaw. The pace picks up. Oh, yeah, this is post-punk. "Overground" has Siousie screaming about sacrificing yourself for normal people. No one in this group seems normal. Nice starting and stopping by the bass and drums. Of course, there's a song named "Carcass." Of course, it's about a butcher falling in love with raw meat. By far, their most normal sounding rock and roll song. I like the dichotomy. "Metal Postcard (Mittageisen)" is very mechanical sounding. Guitar scratching which goes into some sort of eerie guitar chord progression. A tom-tom drum beat. About waking up and finding you're under the rule of a totalitarian mastermind. The album closes with "Switch" which may be guitarist McKay's finest moment. More eerie guitar strings; he dominates going all over the place with echoes. The pace keeps picking up. Siouxsie screaming about the hypocrisy of everything. This is quite the album and is one of the best debut albums that I've heard and along with Joy Division's "Unknown Pleasures," defines post punk. The music and lyrics create a foreboding and eerie atmosphere. McKay's serrated and angular guitar is unique and just spectacular. I hear this guitar sound in PIL. The Pretenders, Sonic Youth, U2 and I'm sure a lot more I'm not thinking of right now. Although muttled, Siouxsie's vocals are haunting and appropriate for thr music; she would become much more in the forefront in the future. The bass and drums are also great. I thotoughly agree with the landmark label.

"Buenas Noches from a Lonely Room" is the third studio album by American Country singer and guitarist Dwight Yoakam. Yoakam was part of the "New Tradionalist" country movement which was a shift away from the polished sound coming out of Nashville at the time. The album was produced by guitarist Pete Anderson with the first part of the album exploring a concept theme of descent into the depths of honky-tonk hell concluding in a murder. The album reached #1 on the US Country Charts and #68 on the Billboard Top 200. The third single released "I Got You" opens the album. Country guitar and beat. The fiddle. We get a guitar solo. Yoakam is crooning. He starts the story by trying to make ends meet but at least he has his girl. Well, that optimistic start ends quickly in the second song "One More Name" as the narrator hears his girl mentioning other names while sleeping. This is a waltz, so much slower. The story concludes in "Buenas Noches from a Lonely Room (She Wore a Red Dress)." This is a murder ballad as the narrator tracks down and kills his girlfriend who's with another guy. An acoustic guitar, a rattle and in comes Flaco Jiménez on the accordion. Very Tex-Mex. This reminds me a lot of Gram Parsons and is one of the best songs on the album. The fiddle opens and dominates "I Sang Dixie." One of Yoakam's best known songs. Electronic and slide guitars. A man meets a US Southerner who is dying in LA and sings dixie to him. The man tells him to get back to the South. Yoakam gets one of his idols Buck Owens to join him on a duet on Homer Joy's "The Streets of Bakersfield." We get all the instruments here...slide guitar, fiddle, accordion. The album ends in a more upbeat way in "Hold On to God." Sort of country gospel. Outstanding backing vocals by the Lonesome Strangers. This is a really good album. Yoakam's voice is great with the twang thing and his crooning. The music is very country at its backbone but there's a waltz, a Tex-Mex flair with the accordion and song homages to Johnny Cash and Buck Owens. A lot of this album that reminds me of Gram Parsons of that's a very good thing.

"Antichrist Superstar" is the second studio album by American rock band Marilyn Manson. Industrial metal, industrial rock, alternative metal and gothic rock are the assigned genres. I'd agree although you could also name just about any metal sub-genre. The album is a rock opera/concept album and the first of a trilogy with a story "revolving around a supernatural being who seizes all power from humanity to initiate an apocalyptic end event; a demagogue driven solely by resentment, misantropy and despair and uses his position to to destroy the world." I'm glad I read that before listening cause it would have taken a long time to figure that out. There's also pretty blatant commentary on the religious right and conservative politics. Four producers were used including lead singer Marilyn Manson and Trent Reznor. It was a commercial success hitting #3 in the US (#73 UK) and had high critical praise and acclaim. The album is divided into three parts. Fans cheering opens "irresponsible Hate Anthem." The band kicks in hard. This song is actually from the future in the antichrist superstar days. A good use of start-stop. The proper first song to this story and a pretty big hit is "The Beautiful People. The thumping beat. Manson whispering. Very industrial sounding as Mansion takes it up to the screaming level. The main character is a worm at this stage and he's sees the evil and the hypocrisy in the so-called beautiful people. "Tourniquet" has long guitar notes which eventually turns to almost chainsaw sounding. The worm is used up at this point and wants to become something but sure what. The second part starts; the first song that caught my attention was "Deformography." The songs keep building and with heavy percussion and very mechanical sounding. The worm wants to get back at the beautiful people. By this point, it is clear that Trent Reznor and Nine Inch Nails are a major influene musically. They actually get a nice guitar riff going in "Mister Superstar." Layered guitars and a idiosyncratic drum beat. Our worm is a rock star now. The band cranks it up a notch on the next song "Angel with the Scabbed Wings." Not only a rock star but the antichrist . And we head into the last part with "Antichrist Superstar." Crowds chanting. Ominous guitar power cords. The rise of the antichrist; he is the hydra. Why not go full on thrash metal and they do in "1996." Obviously, Ministry fans. This appears to be political and religious commentary of the times; there was a recent presidential election. The album ends slower with "Man That You Fear." A piano. It's dramatic. Of couse, it ends with a minute of feedback. I think this was his life's reflection: "the boy you loved became the man you feared." This is an evil sounding album. Great production with Reznor and the others. It is a convoluted story but he does attempt to stay within the story and also comment on current events. The music is mostly industrial but has elements of rock and metal. I'd say if your a Nine Inch Nails' fan, you'll probably like this. However, it does fall in the "too long, CD-era" category.

"Boy in Da Corner" is the debut album by English rapper and producer Dizzee Rascal. The music on this album is categorized as grime which is a sub-genre of electronic music with elements of hip hop, jungle and dancehall. Yeah, that fits as well as hip hop. The producers on the album were Dizzee, Chubby Dread, Moulders, Mr. Cage, Taz and Vanguard. The album had widespread critical acclaim including winning the Mercury Prize. Commercially, it hit #23 in the UK. Electronic beats and oriental-sounding synth keys open "Sittin' Here." Dizzee is rapping watching things happen in his neighborhood around him (East London) as gunshot and siren noises ring out in the background. We get the picture. "I Luv U" has a robotic female voice repeating I Luv U in the intro. More electronic beats and hypnotic synth sounds. Dizzee rapping about guys and girls going out with everyone. I think a comment on youth culture. It's been awhile since I came across the name Billy Squier. On "Fix Up, Look Sharp," the drum beat and vocals sample Squire's "The Big Beat." A good old fashion rap braggadocio song. "Jus' a Rascal" starts with a musical intro with the group of people singing "he's just a rascal." It continues as a chorus. It's pepped up. It's fun. Some more rap braggadocio. Things slow down on "Jezebal." Piano keys and what sounds like an actual drum. Dizzee tells the story of neighborhhod teenager Jezebal who sleeps around and had two girl babies whom he expects to repeat the cycle. The album comes full circle ending with some more oriental-sounding synth keys in "Do It!" At 18, Dizzee feels trapped as he'll never get out of his neighborhood but offers hope in "sleep tight and everything will be alright." This is a unique and very good album. It's both in the hip hop and electronic music genres. It's busy; there's multiple voices and sounds. The beats are varied. The synths are hypnotic at times. Overall, it's both a fun and a serious album. The underlying theme is being stuck in his East London neighborhood and all its issues. A solid recommendation.

"Haunted Dancehall" is the second studio album by English electronic music group the Sabres of Paradise. Techno is the musical genre. The group includes Andrew Weatherall, Jagz Kooner and Gary Burns, all involved in the production and mixing. Portishead also contributed to the mixing and production. The album reached #57 in the UK charts. "Bubble and Slide" opens the album with Carribbean-dub sort of electronic beats. This song quickly goes to "Buuble and Slide II." Ambient synths are added to the electronic beats. "Wilmot" has a Middle Eastern synth sound. Vocal chants. Loud pounding noises carry the beat. Various noises are thrown in: bird, lasers, tapes rewinding. Robotic vocals later on as well. The first single "Theme" layers different sounds throughout. Synth horns. Wobbling synths. A techno beat. A James Bond guitar. I like this song. "Ballad of Nicky McGuire" goes all over the place. It opens with video game sounds (For some reason Q-bert came to mind). Metallic noise beats with an underlying electronic drum beat. About midway through it changes gears and goes totally ambient. And, then goes back. The self-titled "Haunted Dancehall" closes things. Echoing high pitch sounds and eerie "Tubular Bells"-esque synth keys highlight the song. This album had enough variety from song to song to keep my attention. It is all instrumental with repetitive beats sometimes echoing and pulsating. A number of songs fall into the ambient category. Lots and lots of various noises used effectively. A shout out to the production and mixing teams. For those into techo or ambient music, this is one you probably like.

"Ctrl" is the debut album by American singer SZA. Alternative R&B and soul are the assigned genres. OK. Straight-forward pop works too. The album had multiple guest appearances including Travis Scott, Kendrick Lamar, James Fauntleroy and Isaiah Rashad and multiple producers including Craig Balmoris, Frank Dukes, Carter Lang, Scum and ThankGod4Cody. Sza co-wrote and co-produced all fourteen songs. The writing and recording took place over three years. She claims the theme of the album is lack of control which she craves. The album hit #3 in the US and #45 in the UK and had wide-spread critical acclaim. "Supermodel" opens things. Slow guitar strings. An electronic vibe. Sza singing and rapping. A sadly romantic vibe as the women has lost control in a relationship of betrayal and fallout. Travis Scott is featured on the second single "Love Galore." A Carribean-esque electronic beat. Soothing synth. SZA crooning soulfully. About a summer fling which the guy is taking too seriously. A tambourine beat and hazy, wobbly synths begin "Drew Barrymore." SZA showcasing her strong soulful voice. It's interesting as she draws parallels between her life and the parts Dew Barrymore played in her movies. I would be interested in hearing about the "Poltergeist" times. The third single "The Weekend" has phasing synths and fingers snapping. Layered vocals. A sultry R&B melody and beat develops. She sees her partner on the weekend. He's got some other girl for Wednesday and Thursday. I'm starting to see the control issues. More dreamy, wobbly synths highlight "Broken Clocks." A old romance haunts her and she needs to take it day to day. The album closes with "20 Something." It's slow. Guitar strings. She wishes her guy was with her. This is a strong album. SZA has a great, strong voice but is not afraid to throw in a rap. The music is soulful and romantic. Very catchy vocal melodies. She continued the high musical level on her next album. This, her first, is definitely worth a listen.

"Time Out" is a studio album by American jazz group the Dave Brubeck Quartet. The album was recorded at Columbia's 30 Street Sudio in NYC with all original songs, no covers. It is known for its use of unusual time signatures ( 9/8, 6/4 and 5/4). Brubeck had discovered the use of these signatures while listening to musicians on a visit to Turkey. The music is a blend of cool and West Coast jazz. The quartet included Dave Brubeck (piano), Paul Desmond (alto jazz), Eugene "The Senator" Wright (bass) and Joe Morello (drums). It was a hit commercially hitting #2 in the US and became the first jazz album to sell a million copies. Amazingly, it received negative reviews on its release; things have changed since then. In 2005, the Library of Congress put in the National Recording Registry for its artistic significance. The album opens with "Blue Rondo à la Turk." Sax, piano and drums standing out with a very quick pace. A sax solo. This is "airy." Using a 9/8 time signature. The title is a play on Mozart's "Rondo all Turca." Hey, I"ve heard "Take Five" before. The song is famous for its 5/4 time signature. In fact, when I googled that time signature, this was the sample song they used. A smooth alto sax. Steady complex drumming. Great background melody by the piano. "Kathy's Waltz" slows it down, then speeds up. A nice piano solo. The song was named after Brubeck's wife. "Everybody's Jumpin'" starts with a sax. An interesting fluttering piano. Outstanding technical drumming by Morello again. This album is smooth, enjoyable and easy on the ears. It is also interesting to listen to on a technical level with all their time signature changes. Fabulous musicianship by all four. A classic and would be one of the first albums recommended for a first-time jazz listener.

"Van Halen" is the debut album by American rock band Van Halen. Warner Brothers' representatives signed them to a contract after seeing them perform at LA's Whiskey a Go Go. Although, Kiss' Gene Simmons claims to have discovered them. Producer Ted Templemen recorded the majority of the album live with just a few songs getting overdubs. The album is considered one of the best debut albums of all time. It reached #19 in the US and #34 in the UK but continued to sell and has sold over 10 million copies. A collage of car horns, the bass, guitarist Eddie Van Halen's riff, a howl by lead singer David Lee Roth and we're off with "Runnin' With the Devil." I always liked a lot of the groups backing vocals and there's a good one here. Of course, Eddie has a nice solo. I think about having freedom on the road although life is not so simple on the road or at home. Drums start "Eruption" but this is obviously Eddie's showcase. He pretty much made the two-hand tappin' a thing. This song goes right into their cover of the Kinks' "You Really Got Me." They put a lot of energy into this. The tone of Eddie's guitar is fantastic. Speaking of tone, the creeping guitar intro of the fifth single "Ain't Talkin' 'Bout Love" is another highlight. Some more great backing vocals. Some say this song was the blue print for the hair metal assault a decade later. Something to be proud of or not? I'll leave that up to you. "Jamie's Cryin'" is a break-up song. It's one of the songs where overdubs were used and we get layered guitars. A catchy, more poppy song. Can Van Halen gets corny and goofy. Enter "Ice Cream Man." It's a cover of blues guitarist John Grim. And, Van Halen does bring the blues. Roth takes it a little over the top but he's passing and stopping by, she's got all the flavors and he's guaranteed to satisfy. Oh, an outstanding Eddie solo. I song I forget was a single closes the album in "In Fire." Here, the band flexes their heavy metal muscles. A path they probably could have gone down a little more if they wanted to. If all you wanted to do was listen to Eddie Van Halen solos, there pretty much is one to three per song and makes the album worth it alone. The band overall is solid and this album rocks. There's really no dead weight and the band doesn't wear out their stay on any song. They're in and out and onto the next song. I probably would rank this as my favorite VH album; I do like the next one quite a bit too.

"Since I Left You" is the debut studio album by Australian electronic music group the Avalanches. Some interesting genres listed including dance, sampledelia, disco, plunderphonics and art rock. The album was recorded and produced by bandmembers Robbie Chater and Darren Seltmann. They recorded separately at two different studios where they swap tapes and combined. There was extensively sampling from different musical genres. The duo estimated their number of samples at approximately 3500. Woah! The album was widely acclaimed and commercially hit #8 in the UK and #10 on the US Electronic Albums Chart. Noises from a large crowd opens "Since I Left You." Strings and do-wop give this an airy feel. Fantastic sampling of the Main Attractions "Everyday." A woman repeating "Since I left you, I found a world so new." The song turns more disco. This is a wonderful song. The fourth single "Radio" has a funky disco-dance beat. "Sending those signals" is excessively repeated throughout. The first single "Electricity" goes all over the place. A sample from Opera singers Sally Russell and Antoinette Halloren opens the song which goes disco with a great dance beat. Samples from Blowfish's "Rapp Dirty" are thrown in. It appropriately ends back with the opera singers. The song I've heard the most from this album is "Frontier Pyschiatrist." Samples from comedy duo Wayne and Shuster add to the chaos. There's an orchestral background from Enoch Light. Endless loops of horses neighing add to this psychotic and wild ride. You could write a whole page on each of the album's 18 songs with all that's going on.b But, at the same time there are no breaks between songs which makes it one long song. The music is dance, disco and ambient at times. Songs change styles within songs. Very creative sampling. This is a great album and one worth checking out.

"Electric Music for the Mind and Body" is the debut album by American pyschdelic rock band Country Joe & the Fish. Acid rock, pyschedelic rock....sure is. The album was one of the first pyschedelic ones to come out of San Francisco. The bandmembers included Country Joe McDonald ( lead vocals, guitars, harmonica), Barry Melton (guitars, vocals), David Cohen (guitars, organ), Bruce Barthol (bass, harmonica) and Gary "Chicken" Hirsh (drums). The album reached #39 in the US charts. "Flying High" opens the album. You notice right away the layered guitars in the front. They're grooving. Sort of a plodding beat. He's stuck on a LA freeway. "Not So Sweet Martha Lorraine" is softer. The pyschedelic guitar sounds are in free flow. In comes a prominent organ. Trippy lyrics comparing life and death to someone named Martha. The second half of the album really gets into the pyschedelia. "Love" has a growlin" Barry Melton on lead vocals. The organ is carrying the melody. We get a very interesting guitar/organ combo solo. "Bass Strings" slowwwws things down. A haunting and eerie organ. Country Joe does not fool around with the lyric; he's getting high and going to the desert, the ocean and everywhere. The song ends with LSD being repeated. Oh, but they can get even more pyschedelic in the closer "Grace," a tribute to the Jefferson Airplane's Grace Slick. There's water dripping, cymbals, bells, echoing vocals and wave sounds and, of course, gong sounds. Nothing more to say. The highlight of this album are the layered electric guitars. The first half of this seems like one long jam. The slow songs are long and quite honesty can drag. But, maybe that's the point. The lyrics are very trippy as you would expect. This album is of its time and place: San Francisco 1967. If you want to go back there, this would be a place to start.

"Club Classics Vol. One" is the debut album by British musical collective Soul II Soul. R&B is the generic listed genre. Bandmember Jazzie B described the music as "an amalgamation of good dance music." The album was produced by Jazzie B and bandmember Nellee Hooper. The rest of the band which would change from album to album included Caron Wheeler, Simon Law, Do'reen Waddell, Rose Windross, Daddae, Aitch B and Jazzie Z. The album produced two hit singles and, commercially, hit #1 in the UK, #14 on the Billboard Top 200 and #1 on the US Top R&B/Hip-Hop albums. "Keep on Movin'" gets the party started. A dance beat. Soulful vocals by Caron Wheeler. A piano melody with a synth background. Smooth backing vocals. This is a really good song. A song of hope...keep moving on when things get bad. "Holdin' On (Bambelela)" has a quicker beat and a great groove. This time a soaring synth melody with piano in the back. Jazzie B singing with background female vocals. Hold on to that dream you have. "Back to Life" is sung accapella by Caron Wheeler. Very soulful including the background singers. About two-thirds of the way through handclaps and a drumbeat are added. She has to know, however, do you want me, however, do you need me. The song transitions right into the closer "Jazzie's Groove." Jazzie B's deep vocals talkin the lyrics. Female backing vocals. Horns and a bass are added and fade out the song. This is really good album and reminds me of mid-to-late 70's R&B but also modern with the beats and jazz elements. It's smooth, soulful and very dance-oriented. The themes and music is optimistic. There are periods of mostly instrumental music but nothing drags. A recommendation from me.

"xx" is the debut album by English indie pop band the xx. Indie pop, dream pop and indie rock are the genres listed and they all fit. The music was built by combining bandmember Jamie Smith's beats with Oliver Smith's bass and Romy Madley Croft's guitar parts. Smith was the album's producer. The other bandmember who would shortly leave was guitarist Baria Qureshi. Most songs are duets with Croft and Sim taking co-lead vocals with songs about love and love intimacy. The album had wide-spread critical acclaim and won the 2010 Mercury Prize. Commercially, it made it to #3 on the British charts and #15 on the US Indie Charts. The album begins appropriately with the instrumental "Intro." Slow guitar progression (not the last time), bass, synth in the background and double-tracked drums. There's also chanting. This sounds like trip hop. Xylophone keys open "VCR." Minimalist guitar progression (again). Romy Croft whispering, singing. They're watching movies on VCR's and talking about love. The guitar riff highlights "Crystallized." Romy and Sim are back and forth on vocals. An imagined romantic scenario: "You applied the pressure to have me crystallized." The guitar shines again on "Islands," mesmerizing and catchy. A synth bridge. Loyality and love. "Shelter" is stark with only Romy's vocals and guitar. A good deep cut. She's never felt this way with the lights off. The second single (there were four singles) "Basic Space" begins with a drum beat that sounds like horses' hoofs. An additional beat comes in. Sparse guitar and synth. One of the few times, Romy and Sim have vocal harmonies. This song has elements of both ambient and shoegaze. Slowdive came right to my mind. The closer "Stars" changes things up a bit with a deep bass and piano. Sim on lead vocals not messing around with intent here as he describes getting physical with someone on the first date and not worrying about the future. I got this album when it came out and liked it to some extent. It sounded great today and has aged well. The music is minimalist with sparse guitars and vocals. It's also simple and hypnotic. The emontional vocals display desire and longing. There's elements of ambient and shoegaze; something I didn't grab the first time around. An album worth going back to.

"Water from an Ancient Well" is a jazz album by South African pianist and composer Abdullah Ibrahim. Ibrahim moved to New York in 1960 and lived in exile until the early 1990's. In that time, he recorded this album at Van Gelder Studio in Englewood Cliffs, New Jersey. The album was produced by Sathima Bea Benjamin and besides Ibrahim also included Carlos Ward (alto flute), Ricky Ford (tenor sax), Charles Davis (baritone sax), David Williams (bass), Ben Riley (drums) and Dick Griffin (trombone). Ibrahim was a leading figure in the subgenre of Cape jazz. Piano and the horns open "Mandela." This has a fast pace and reminds me of jazz from the 1940's. Separate sax and trombone solos and then they join together. That is a pattern in this album. "Song for Sathima" slows things down with the piano and horns. A New Orleans vibe. An array of sax solos. This is very romantic and perfectly fits the title. "Mannesburg Revisited (Capetown Fringe)" has piano and drums with a machine-like beat. Very nice play between the piano and horns. A dramatic ending. "Water from an Ancient Well" starts with a slow piano melody. The drums and horns come in in unison. Sax and trombone solos all around with the baritone sax knocking it out of the park. And, a bass solo. Yes! The band just jams at the end. Epic at 11 minutes! "The Wedding" is slow and romantic with the tenor sax in lead. This reminded me of a slow dance. The song builds with the piano and drums. And, no they did forget the flautist. "The Mountain" has the alto flute in the lead. This made my day. This is soothing and just a great listen. The multiple horns take turn in the lead both within and between songs. The piano, bass and drums laying the foundation. The music just amazingly fits the song titles. I need to listen to more of Abdullan Ibrahim. Actually, I did after listening to this a few times. I was not disappointed. A recommendation for everyone.

"Let Love Rule" is the debut album by American musician Lenny Kravitz. Pyschedelic rock and pyschedelic soul are the genres listed. Hmmm, I guess they both work. Besides parts of two songs, Lenny wrote and produced all the songs. He also played nearly all the instruments. Impressive. The album hit #61on the US charts and #56 in the UK. "Sittin' on Top on the World" opens things up. Acoustic guitar. Funky with the bass and drums. Layered vocals. He might be sitting on top of the world but he's singing the blues. Things get way more optimistic in "Let Love Rule." Besides the standard rock instruments, an organ and sax are added. Always liked the vocal chorus. Although, this song does tend to go on and on and on. I really got Beatles' vibes in "I Build This Garden for Us." I think it was the guitar chord progression and strings added. A great guitar solo and the classic Lenny scream. This Garden does sound like a nice place. He goes a little political in "Mr. Cab Driver." This might be the most standard rock song: electric guitar, bass and drums. Cab drivers won't pick him due to his skin color and dreadlocks. I can't say there was anything entirely original on this album but it was fine. You can definitely tell that some of his influences were Hendrix, the Beatles ans Sly & the Family Stone. There's a variety of musical styles including rock, funk, blues and soul. I think I got what I expected out of this album: nothing mind blowing but nothing really that bad.

"Deserter's Songs" is the fourth studio album by American rock band Mercury Rev. The listed genres are chamber pop and Americana. Unbelievably, both fit to a certain degree. This was pretty much a last ditch effort for the band after a commercial disappointment from their last album. Lead vocalist and guitarist Jonathan Donahue became motivated with a meeting with the Chemical Brothers who were big fans and then composed melodies after listening to childhood records. The album was produced by Donahue and former Mercury Rev member Dave Fridmann. The album did well hitting #27 in the UK and brought them unexpected popularity in the UK and Europe. Loud strings and Donahue's high- pitched voice open "Holes." Piano is carrying the melody. There's horns. Weird synth noises. Dreamy, abstract and maybe autobiographical lyrics. Wow! Does this sound like the Flaming Lips' "The Soft Bulletin." And no surprise; Donahue was a member of the Lips on their first album, this album was being recorded at the same time as "The Soft Bulletin" and Donahue and the Lips' Wayne Coyne were exchanging ideas and both albums had the same producer in Fridmann. The third single "Opus 40" keeps the strings going. A quicker pace with piano, the Band's Levon Helm on drums and a tuba. Kind of a mysterious message as a girl keeps trying to kill herself but can't. Things lighten' up on "Hudson Line." The Band's Garth Hudson opens with the sax. An electric guitar shows up. Traveling from NYC to upstate NY. This album was recorded in upstate NY. Donahue wrote "Goddess on a Hiway" while he was in the Flaming Lips and decided to record it ten years later. Melancholy piano keys. A common rock beat and a soaring chorus. Weird guitar feedback (Lips' influence again). A doomed relationship. The album closes with "Delta Sun Bottleneck Blues." I did not see a techno house song coming. A dance beat. Playful, bouncey piano. An airy flute. Horns, synths in the background. A playful ending. This is a great album and so different from their earlier pyschedelic, shoegazey stuff (which I also like by the way). Obvious comparisons and similarities to the Flaming Lips' "The Soft Bulletin." The music is unique, cheerful, dreamy, futuristic and big sounding. The producer Dave Fridmann would be known for that. He has quite the indie music resume as a producer. This is an album needs a listen to.

"Jack Takes the Floor" is an album by American folk musician Ramblin' Jack Elliott. Elliott's music has been classified as country, folk, blues and bluegrass. Yeah, I agree with that on this album. The album was initially released in the UK. Elliott toured and gain notoriety in the UK and Europe first and later in the US. Elliott plays a folk acoustic guitar in "San Francisco Bay Blues (Jesseville)" Elliott talks more than sings and sounds a lot like Arlo Guthrie. Jesse plays guitar in the Bay area. Elliott tells a funny (and not too funny) story in "Boll Weevil" of the Mexican and cotton-eating bug moving to Texas to find a home. Obvious comparisons to immigrants. The interesting stories continue in "New York Town" where Elliott takes the voice of both himself and Woody Gutherie in a conversation about a visit to New York. The second side takes it in a blues direction. In "Mule Skinner Blues," he's on the harmonica, there's a bluesy guitar and he's also howlin.' "Cocaine" tells the story of Preacher Jerry in Harlem. A slower pace. There's cocaine all around his brain and he's going to his baby to get right. A pretty provocative song for 1958. "Salty Dog" closes the album. Elliott doesn't want be her salty dog. This a fun album. Elliott talks, sings and howls stories. They're funny and interesting. The music is more in the bluesy style of folk. I definitely see this music and him being influential in the whole 60's folk and country scene.

"The Pretenders" is the debut album by British-American rock band the Pretenders. The music is a combination of rock and roll, punk and new wave. I can't really add anything there. Nick Lowe produced their first single "Stop Your Sobbing" but didn't want to do the full album as they thought the band wasn't going anywhere. Nice move Nicky boy! Chris Thomas got the producer job. The Pretenders are (sorry for the insult) Christie Hynde (lead vocals, guita), Martin Chambers (drums), Pete Farndon (bass) and James Honeyman Scott (guitars). The album hit #1 in the UK and #9 in the US. The band comes out sounding like the Ramones on "Precious." Nice phased guitar and some vicious Hynde lyrics. "Tattooed Love Boys" is essentially a Bo Diddley beat on speed with explosive guitars. The woman protagonist refuses a motorcycle gang drugs who then take and rape her. I guess I should have listen closer to lyrics previously. They close out side one with a nice, melodic cover of the Kink's "Stop Your Sobbing." On side two, Hynde starts to show her pop tendencies. "Kid" is melodic and has an interesting beat. It's about a boy who discovered his Mother is a prostitute. I dony want to know anything about Chrissie's dreams. The first Pretender song I remember hearing is "Brass in Pocket." Hynde said it was a failed attempt at a Motown song. It does have a cool relaxed groove. She's also said it is about the cockiness you need to perform. The album closes with "Mystery Achievement" and it's seductive and hypnotic bass and drums and slashing guitar riffs. She's imaging being on the cusp of fame. She need not to worry after a few months. This is one of the best debut albums of all time. The music is aggressive and the lyrics are R-rated at time (shit maybe X. Okay NC-17). Sure, as accused, they sound like a lot of other bands. You hear influences from the Velvet Underground, the Bestles, Blondie, the Police, the Ramones, Public Image Ltd. and Guitarist John of Siouxsie and the Banshees. Nevertheless, they create a sound that is their own. A classic.

"Highly Evolved" is the debut studio album by Australian alternative rock band the Vines. There are a number of genres their music is put into including alternative rock, garage punk, pot-punk revival, post-grunge and neo-pyschdelia and that might be part of the problem. This album did incredibly well for a debut reaching #3 in the UK and #11 in the US. "Highly Evolved" opens things up. There's a grungy guitar, a handclap beat and lead vocalist Craig Nichols screaming. On "Outtathaway," they actually get a groove going. A nice winding guitar solo (best descriptor I could think of). Their fourth and final single "Homesick" slows things down. It's a nice pop song with harmonies, a piano and an added guitar later. The guitar-piano melody has a hair metal vibe. Get your lighters out. The only song I remember from this album is "Get Free." There's a wah-wah guitar and driving melody. I got to be honest; this has to be their best attempt at the Stone Temple Pilots (take that as you may). The album closes with "1969." Pyschedelic dual guitars. The soft-loud-soft dynamic. The song speeds up. I guess their giving their own versions of "Freebird" and "Down By the River." At least this was fairly interesting. This album was just OK. It is better than the 4.1/10 Pitchfork rating but not by much. They do a variety of styles: grunge, pyschedelia, hard rock, hair metal and cod reggae. But, most the songs just didn't grab me or my attention. I was trying to think of who they really reminded me of and my streaming service gave it to me as the next song played after the album ended: fellow Aussie's Jet. So, if like Jet, have at it; you'll probably like this album.

"The Next Day" is the 25th studio album (and first in 10 years) by English musician David Bowie. The album was secretly recorded in NYC with session musicians who had to sign non-disclosure agreements. Produced by Bowie and Tony Viscoti, the music is classified as art rock. Yeah, the styles go all over the place so art rock covers basically anything. The album hit #1 in the UK and #2 in the US and was his best praised work in decades. The self-titled "The Next Day" comes out strong and loud. Big production. Bowies vocals are muffled but forceful. A funk-groove thing going on. A condemned man is facing a penalty and a commentary on religion/The Church. "The Stars (Are Out Tonight) has a great guitar riff, a rock beat and strong backing vocals. "Love is Lost" has an interesting combination of a organ, heavy rhythm and snare drum sound effects. It's about a young man's darkest hour. The first single "Where Are We Now" has a melancholic tone with the piano, keyboards and a slow pace. Bowie dreaming of his time in Berlin (late 70's) and what's happen since the fall of the wall. This song really points to where he would go on his next album. The album closes with "Heat." A song with a pounding beat, ambient synths, an aoustic guitar and wind sounds. A song of loneliness and self-doubt and an unsettling ending. This is an album with excellent production and execution: big sound and string and other instrumental arrangements. Bowie's voice can be strong or muffled. There's a variety of styles; he seems to cover just about all of his history. A few song point to where he would go with "Black Star," his next album. It is long and a lot music but I thoroughly enjoyed this.

"Marquee Moon" is the debut album by American band Television. Their music fits within the categories of rock, post-punk, art-punk, new wave, garage rock and probably several others. Television gained notoriety on the New York music scene and eventually signed with Elektra. The album was produced by lead singer and guitarist Tom Verlaine and Andy Johns. Other bandmembers include Billy Ficca (drums), Fred Smith (bass) and Richard Lloyd (guitar). The album had commercial success in the UK reaching #28 and extreme wide-spread critical acclaim with the album still very high on best albums of all-time. I'm kind of surprised this is not in the National Recording Registry. Two over-layered rhythm guitars open "See No Evil." A prominent bass and drums and catchy backing vocals. Verlaine acknowledges evil but feels pure in what he is doing. "Venus" slows things down. Very 70's sounding guitars going up and down the scales. The lyrics are poetic and perhaps about this relationship with former band bassist Richard Hell. And, side one ends with the self-titled "Marquee Moon." Guitars strumming and swirling. They're up, down and all around. I have to mention the incredible bass playing too. But, the guitars' interplay is just magical in this 10-minute long epic. It doesn't get much better than this. I think lyrically it's about coming to a crossroad in life. Side two does not disappoint either. "Prove It" is slower with an interesting drumbeat. Is this a detective story? I think Elvis Costello was in the room. A drum roll starts the closer "Tom Curtain." The music is very dramatic with a piano combined with the eerie, angular and piercing guitars. I don't know exactly what it's about but abuse and tears rolling back are mentioned. This is damn near perfection. The guitar interplay is exquisite. Verlaine and Lloyd play rhythm and lead and off each other. Very few albums and songs have reached their heights. The drums and bass are excellent. Verlaine's lyrics are fairly straightforward and poetic with imagery. It's interesting reading what critics say since each one seems to say something a little different as to why they like this. This is a treasure.

"You're Living All Over Me" is the second srudio album by American alternative band Dinosaur Jr. A good description of the music is "drawling vocals with loud guitars and driving rhythms." Critics have hailed this album as a high point in American rock at this time connecting 80's alternative rock to the grunge and shoegazes genres. The band is J Mascis (guitars, vocals), Lou Barlow (bass, vocals) and Murph (drums). A wha-wah swirling and fuzzy guitar open "Little Fury Things." Echoes screams sounding like they're underwater. The song's meaning is blurry but maybe about a stalker. On "Sludgefeast," J Mascis layers his distorted, feedback infested guitars. Deep bass and drums. You couldn't get this from the title but he's trying to connect with a girl. "The Lung" was the first Dinosaur Jr. song I heard. It sounds great. A bass start, melodic guitars and then it takes off fast. Various guitar solos and breaks. I have no idea what this is about. "In a Jar" has a quick drum opening. The bass and rhythm guitar carrying the melody. Interesting lyrics as it tells the relationship of a pet and human from the pet's perspective. The last song "Poledo" has Lou Barlow on lead vocals and the ukulele. There's handclaps and the song breaks down midway through and we get 2 1/2 minutes of feedback and weird noises. Maybe, it's their attempt at pyschedelia. This album is lo-fi, slacker and raw and I love it. Mascis' guitar takes off at just about any time. He uses lots of feedback and distortion: hence, the influence on shoegaze. I know I mentioned this on the "Bug" review but Barlow and Murph are more than able to keep up with Mascis and sometimes steal the song. A hard call, but definitely up near the top of Dinosaur Jr.'s catalog.

"The Colour of Spring" is the third studio album by English band Talk Talk. Bandleader Mark Hollis wanted to move away from their previous synth-pop music to using more organic instrumentation. New wave, art pop, progressive pop and experimental pop are appropriate assignments of genres for this album I guess. This album is considered a bridge from the aforementioned synth-pop to their later, more improvised work. A number of additional musicians are used from the core trio including Steve Winwood (organ), the Prentenders Robbie McIntosh (guitars) and producer Tim Friese-Greene (piano, synth, organ, Variophon and Mellotron). Besides Hollis, Talk Talk is Lee Harris (drums) and Paul Webb (drums). This was their best selling non-compilation album hitting #8 in the UK (#58 in the US). You get a sense of what Hollis was going for right away in "Happiness is Easy." A drum beat and percussions. Acoustic guitars. Hollis' voice. Winwood on the organ. This is very sparse and desolate. Strings (synthesized) are added later on to give it a jazzy feel. It's about blindly following religion. Hey, there is a song most everybody has heard in the first single "Life's What You Make It." Piano, guitar, organ and percussion. I always liked this song. A self-explantory title for the song's meaning. The first song on the second side, "Living in Another World," woke me up. It's a standard rock structure song and organ driven. It's busy compared to everything else and has a groove. The album closes with "Time It's Time." This is very dreamy. Percussion and soft piano. Hollis signing softly. A backing choir later on. A message of hope: " Time it's time to live." This album is stark and beautiful. The organ gives it an air of soulfulness. It's also jazzy in spots. There's some spirituality in the lyrics. You defintely see the music transition towards their last two brilliant albums "Spirit of Eden" and "Laughing Stock" but this one is worth a listen to as well.

"American Gothic" is the third studio album by American singer-songwriter David Ackles. The listed genres are singer-songwriter and Americana. I struggle with the Americana label except for a few songs. The album was recorded in London and was produced by Bernie Taupin. It did not do well commercially. The self-titled "American Gothic" opens the album. A rolling piano. Horns in spots. It's kind of cabaret-ish. Ackles has a nice voice similar to Scott Walker. He's telling the story of Molly, a prostitute, and Old Man Horace, a drunk. "The Ballad of the Ship of State" uplifts the mood with horns and strings and there's a rock beat. A crew is waiting to go home apparently stuck somewhere (an island?). Alright, I found the Americana song in "Another Friday Night." We got a harmonica, a slide guitar, strings and a gospel choir with backing vocals. He's spending a weekend in a town where he has to leave again to get on the road. The album ends with the 10-minute epic "Montana Song." Strings and a flute. Very dramatic and heartfelt. It's the story of a city man who goes to country selling bibles, ends up living in the contry raising a family but his kids end up going back to the city. This album is ok; it kept my interest. Ackles has a voice that is a mix of Scott Walker and Neil Diamond. The songs border on cabaret and some are very dramatic. His songs tell stories with some maybe being autobiographical. With Bernie Taupin producing, I surpringly did not find Elton John similarities. I would say if you like early Scott Walker a lot, this is worth a listen.

"Catch a Fire" is the fifth album by Jamaican reggae band the Wailers (aka Bob Marley and the Wailers). It was their first album on Island and was produced by Bob Marley and Chris Blackwell. A majority of the lyrics deal with political injustice towards Blacks and poverty. Besides Marley (guitar, vocals), the Wailers include Peter Tosh (organ, guitar, piano, vocals), Bunny Wailer (bongos, conga, vocals), Aston "Family Man" Barrett (bass), Carlton "Carlie" Barnett (drums) and Rita Marley and Marcia Griffith on backing vocals. Producer Chris Blackwell also used a number of other musicians including some on the overdubs. Commercially, the album hit #171 on the US Billboard Top 200. Critically, the album is considered one of the best reggae albums of all time. A plodding guitar and organ open "Concrete Jungle." The reggae beat kicks in. Some great guitar overdubs especially the solo by Wayne Perkins. The concrete jungle is an area in Kingston where Marley is stuck in the song. Peter Tosh wrote and sung two songs on this album (Marley the rest) including "400 Years." The speed is slowed up and there is a haunting vibe. Backing vocals repeating 400 years. It's the time that his people has spent in slavery both physical and mental. Tosh takes the lead again on "Stop That Train." The organ gives this soul. A sad song since I think he's talking about contemplating suicide. The scratching and strumming guitar start their hit "Stir It Up." There's a fantastic swirling background sound which I think is guitar (but could be a synth). Anyway, a great song with musical layers and it's, of course, easy going. Marley is pretty straight-forward with lyrics here as he's going to stir it up with his woman. The sensuality gets kicked up a notch in "Kinky Reggae." A gentler reggae beat and the great female backing vocals. Marley is in kinky reggae town. What's he looking for or at? Drugs, sex, poverty? This is a fabulous album. It's achingly beautiful with some of the song's lyrics about poverty and slavery. The music and production are great; you have the base reggae beat and groove and then there's layers of instrumentation beneath that. Not a bad song here and an album everyone needs a listen to.

"16 Lovers Lane" is the sixth album and the final release from the original version of Australian indie band the Go-Betweens. The album is nicknamed their "Rumours" since their guitarist and vocalist Robert Forster had just broken up with drummer Lindy Morrison, lead singer Grant McLennan had started a relationship with violinist and vocalist Amanda Brown and bassist Robert Vickers left the band to be replaced with John Willsteed. The band had also just moved back to Syndey after five years in London. All these events affected and are part of the lyrics. Commercially, the album hit #81 in the UK and had wide-spread critical acclaim. The album kicks off with "Love Goes On." Acoustic guitar and catchy vocals. Strings and a Spanish-sounding guitar comes in. The song keep building musically. It's about the transitory nature of love. "Quiet Heart" is slower with a clicking beat. McLennan whispering vocals are more emotional. An electric guitar and harmonica are added at the end. I'm really liking the layering of the music here. The pace picks up in the first single "Streets of Your Town." A pop drum beat and some more catchy lyrics in the chorus. Very easy listening and I believe about the town of Brisbane. The culmination of this album just might be "Was There Anyhthing I Could Do?" It begins with a faster strumming guitar similar to the Smiths' "Big Mouth Strikes Again." There's an edge and urgency to McLennan voice. There's a rolling violin and eventually layered guitars. Tremendous. The album ends appropriately with the melancholic "Dive for Your Memory." A love that couldn't be. The lyrics, vocals and music fit perfectly together. There is a lot to like about this album; it well-orchestrated and constructed pop music. Dramatic. Cathartic. Changes pace. The music is expertly layered with the strings, guitars and harmonica. At times, it reminded of a cross between the Smiths and Crowded House. It doesn't sound dated at all and well worth going back to.

Super Fly" is the third studio album by American soul musician Curtis Mayfield and was released as a soundtrack of the Blaxploitation film of the same name. It is considered pioneering along with Marvin Gaye's "What Goin' On" for the soul concept album. The lyrics are socially aware addressing poverty and drug abuse. The film itself was more ambiguous in its stance towards drugs. Commercially, the album held the #1 spot on the US charts for four weeks. Critically, it was lauded by critics and considered Mayfield's creative breakthrough. In 2019, it was put in to National Recording Registry for its artistc significance. "Lttle Child Runnin' Wild" opens the album. Organ, percussion, strings, horns, bass. There is a lot instrumentation in these songs. Big production. Right off the bat, he describes Ghetto life and drug addiction. The percussion the bass, the guitar and you know the song, it's "Pusherman." Great wah-wah and scratching guitars. Told from the point of view of tge drug dealer. Not all drug dealer lives end well and we find that out in "Freddie's Dead." Horns, wah-wah guitar, swelling synths and horns. Lots going on. Ohh, and we get the flute and a flute outro..that made my day. Curtis' excellent falsetto carries "Nothing on Me (Cocaine Song)." This is easy listening, has a light groove and is positive; "My life's got a natural high, that man can't put no thing on me." The crawling bass, the percussion, the hi-hat, the horns and that groovy guitar and we're off with the album closer "Superfly." The life of a drug dealer. "The only game you know is do or die." This is a great, great album. Curtis' voice is just silky smooth. Each of these songs have incredible instrumental detail; it would be worthwhile just listening to all the instruments and their placements. Tremendous production. Some of the songs are big and fit perfectly in a film (i.e. cinematic). Curtis' lyrics are direct about what's he's talking about. This didn't sound too aged to me. An album that everyone needs to own and listen to.

Alright, I am going to take this seriously. "Devil Without a Cause" is the fourth studio album by American musician Kid Rock. This album marked the finalization of his stage persona as a "redneck pimp," for better or worse. Rap rock, rap metal, nu metal and hard rock are the classified genres. And, one song falls into the country rap genre. This album had massive success selling over 14 million copies and critical acclaim for its genre-mixing sound. This party starts with "Bawitdaba. I remember this video and had no idea what to think. A synth opening with the screaming vocal line "My name is Kid..." Heavy metal riffs with Rock rapping. He's setting his persona as the hard partying-bad ass pimp. That describes 90% of this album. "Cowboy" is a little different with its fusion of country and rap. Using a harp, harmonica, piano solo and slide guitar. If this song wasn't still so overplayed, I might actually like or at deal with it. "I am the Bullgod" adds some funk. Otherwise see the comments for the first song. "Wasting Time" is another song a little different with its slower pace. Melodic, more country rock and sounds more like today's Kid Rock. It took getting to song #11 "Only God Knows Why" before Rock decides to sing. It's a ballad and he's not feeling any better even with the fame. If only he had some more of these songs. On the positive side, every song tries some sort of fusion whether it's incorporating heavy metal, rap, country, funk and soul. The problem is that 90% of these end relying on a heavy metal riff which gets old and firmly plants itself in the nu metal category which I, for the most part, hate. The lyrics of the redneck badass pimp gets old especially when the album is 71 minutes long. There are some pretty good slower songs (mentioned) which he should have mixed with less nu metal and I might have liked this. But, what do I know, he's sold 14 million albums. So, party on Robert James Ritchie.

"Germfree Adolescents" is the debut album by English punk band X-Ray Spex. Punk rock and new wave. Yep! Critics have hailed this as one of British punk's strongest albums. X-Ray Spex is Poly Styrene (vocals), Jak Airport (guitar), Paul Dean (bass), Rudi Thompson (sax) and B.P. Hurting (drums). Commercially, the album hit #30 in the UK. "Art-I-Ficial" starts out fast. A great rock guitar and a sax playing along giving this a very unique sound. Poly singing about how society shapes us. "Identity" has a more punk guitar. Kind of morbid describing a girl slitting her wrists. The guitar in "I am a Poseur" is more heavy metal. A heavy riff and a nice sax interlude. "Exhibition is the name. Voyeurism is the game." "Germ Free Adolescents" starts out with a wobbly guitar/synth and a slow drum beat. A tremendous sax melody interlude. This sounds like the Beta Band and the Buzzcocks "Why Can't I Touch This." It's about obsession with cleanliness and just a great song. "Plastic Bag" goes fast punk and slows down and repeats. The mind is like a plastic bag sucking up all the garbage thrown at it. And another song with a great name "The Day the World Turned Day-Go" properly ends the album with a searing guitar and driving rhythm section. You guessed it: the onslaught of synthetics in the world. This is quite the album. Poly Styrene talking, screaming and singing. The lyrics are utterly brilliant tackling society, obsession with cleanliness, civil rights, suicide, exhibition, synthetics, partying and genetic engineering. The musicians are top notch and the band just rocks. The sax adds a uniqueness. The music goes punk, heavy and slow. This is a must listen.

"Clandestino" is the first full length album by French singer of Spanish descent Manu Chao. The music was recorded by Chao himself at various locations around the world using a small laptop. The music is classified as reggae rock which I guess is fine although I would just put it as Latin/Carribean. The album has been included in various best of lists and commercially, hit #1 in France. The lead song "Clandestino" has a reggae beat and layered vocals. Sung in Spanish, he describes illegal immigrants living in the shadows. I think comparing the US and other desired countries to Babylon. In "Bongo Bong," there is a light repetitive beat and melody. Chao's rapping. The background music is from a Black Uhuru song and the title and lyrics from a 1939 jazz song "King of Bongo Bong." I believe he's singing about smoking weed. The melody and beat continue in the next song "je ne t'aime plus" where sings about a lover he doesn't love anymore. The trumpets and trombone are brought out in "Welcome to Tijuana." There's various noises including some of people partying. This is a party; sung in English and Spanish, it's about people's struggle for justice and freedom. The album ends full circle with "El Viento." Simple guitar strumming. The conclusion of those people immigrating to Babylon is that they are hungry and want to back. This is a good album. It kept my interest. There's varied music from reggae to Latin. Chao has a good voice and sings in Spanish, Brazilian Portuguese, French and English but it wasn't hard to get the tone of what he was singing about. And that about includes the struggle of the common people for justice and freedom, love relationships gone wrong and smoking weed. A potpourri of topics but it worked for me.

"Synchronicity" is the fifth and final studio album by British rock band the Police. The album was inspired by Arthur Koestler's book "The Roots of Coincidence." It was noted for a reduction in reggae and more liberal use of synths in their music. Musically, it's firmly planted in the new wave and rock-pop categories. The album was their most successful hitting #1 in the US and UK and was widely acclaimed. In 2023, it was inducted into the National Recording Registry by the Library of Congress for its artistic significance. "Synchronicity I" starts out with urgent sounding synths. The drums kick in with Stewart Copeland playing some different time signature (6/4?). I really like vocalist Sting's rapid fire lyrics. It's based on Carl Jung's theory of synchronicity (meaningful coincidences that seem to have no cause). Guitarist Andy Summers wrote and sung one song, "Mother." Listen to it if you must. The first side ends with "Synchronicity II." I remember this video being pretty cool, very futuristic. Laser synths. A very 80's sounding guitar melody - probably since they were the early 80's. It's the story of the disparities and depressing life of a father connected symbolically to parallel events. "Every Breath You Take" starts an extremely backloaded second side. Everyone knows this iconic song. The story of a possessive lover's control and perhaps, Sting's best emotional vocals in a song. The melancholic slow piano keys open "King of Pain." It's based on Sting's post-separation from his wife. And really, pretty brilliant lyrics within the whole synchronicity theme comparing nature events to his situation. A slower pace drum beat with background synth and guitar sounds begin "Wrapped Around Your Finger." A great vocal chorus and continued outstanding lyrics as he turns the tables on someone who had been in control. The music and vocals come to a great climax....my favorite song on the album. This album is not perfect but the highs are very high. The heavy use of synths works. Great musicianship by all three members especially Copeland with all his signature changes. The second side is loaded with iconic songs and just brilliant lyrics. They pretty much were the pop-rock "it" in 1983. And, you can hear the hints in a few songs of the jazzy next step Sting would take.

"Beach Samba" is a studio album by Brazilian singer Astrud Giberto. This album is a mixture of Brazilian songs translated into English and American folk-pop songs with bossa nova and samba beats. Songs were arranged by Eumir Deodata and Don Sebasky and produced by Creed Taylor The album opens with Gayle Caldwell's "Stay." It's got a slow bossa beat and a flute. Giberto has a calming voice and it's very easy listening. "Misty Roses" has a more pronounced bossa beat. A lovely song with the piano. "Beach Samba" continues the bossa nova/samba beat. Multiple horns and a flute. Giberto scat singing mostly. Giberto brings her six-year old in for a duet in "You Didn't Have to Be So Nice." A harmonica is leading the way. For some reason, this sounded like a mix between the Monkees and the Carpenters. This a smooth, relaxing album. Giberto has a calming effect. The music combines a variety of styles: bossa nova, samba, jazz, pop, baroque, marching band and easy listening. It you blasted this album on your stereo, it might have the opposite effect of turning off your neighbors; they may actually like you.

"The Doors" is the debut album by American rock band the Doors. The band had been playing and developing most of the album's material in various LA locations prior to the recording. The pyschedelic rock created incorporated a wide range of musical influences including jazz, classical, blues, pop, R&B and rock music. Commercially, the album hit #2 in the US and has sold over 13 million copies. It is considered one of the best debut albums of all time and, in 2015, was put into the National Recording Registry for its artistic significance by the Library of Congress. A bossa nova drum beat opens "Break on Through (to the Other Side)." Guitarist Robby Krieger said the guitar was based on Paul Butterfield's "Shake Your Money Maker" and organist Ray Manzarek said his part mimicked Ray Charles' "What I'd Say." Well, it worked. Is it about a relationship? Drugs? "Soul Kitchen" has an organ groovy riff. Blues guitar. The lyrics are based on a late night place vocalist Jim Morrison would go to. I like the X cover version too. Manzarek keyboard shines on their big hit "Light My Fire." The keyboard chord progression was an homage to band favorite John Coltrane. A guitar and keyboard solo. It builds to a climax. Great vocals by Morrison. Pyschedelic pop at its best. They do a good bluesy cover of Willie Dixon/Howlin' Wolf's "Back Door Man." I had to mention this since I like the line "I eat more chicken than any man ever seen." Of couse, you close to the album with a song named "The End." The iconic pyschedelic guitar start and the tambourine. The music ebbs and flows. Morrison goes into the whole Oedipus complex speech where he want to kill his Father and do something else to his Mother. Is it an end to a relationship? Childhood? Sometimes else?Critics put this song as an important precursor to both the prog rock and goth rock genres. That might not make everyone impressed. I have to be honest; I was not the biggest Doors' fan in my teens and twenties. Maybe it was due to them being overplayed on classic rock radio. I've come full circle and actually now like them a lot. This is a fantastic album. There might be some overindulgence in the length of songs but I don't think it's dead weight. With a deeper listen, you really do hear all of the aforementioned influences (jazz, blues...). All the musicians are top notch. I never mentioned drummer John Densmore; he is fantastic in spots and gave the band the jazz experience with his background. The lyrics are at times dreamy and other times direct. This album is one everyone should visit or revisit.

"My Life in the Bush of Ghosts" is the first collaborative studio album by Brian Eno and David Byrne. The album integrates sampled vocals and "found" sounds with African and Middle Eastern rhythms and electronic music techniques. That's a perfect description. This album was Byrne's first one without the Talking Heads. It was recorded before "Remain in Light" but released after due to legalities regarding clearing the samples. It did fairly well commercially hitting # 29 in the UK and #44 in the US. Critically, it has gained more favorable reviews over time for its influences in sampling and electronic music. "American is Waiting" opens things with a looped drum beat, weird noises and a guitar riff. The vocal sample is a guy talking on a NYC radio station. Hmmmm. Things get interesting in "Mea Culpa" with a very fast sample of an inflamed caller attacking a politician on a radio call I have no idea what they are talking about. There is an underlying African beat. Chanting eventually begins. The songs keep a little better and with "Regiment," there is a groove with the drums and bass. The Talking Heads' Chris Franz is on drums. Guitarist Robert Fripp joins the party giving a solo. The vocal sample is a Lebanese mountain singer. "The Jezebal Spirit" gets the funk out with the bass, drums and guitar. The song keeps building with keyboards and a guitar added. Apparently, the sample is of an actual Exorcist. Good luck picking that out. "Moonlight in Glory" is another funky song with congas. It sounds a lot like the Talking Heads' "Houses in Motion" from "Remain in Light." "The Carrier" slows it down and has a tribal beat and ambient vibe. Now, I'm thinking of early solo Peter Gabriel. I have to admit I was confused with the first listen of this; I really started to like it with additional listens by focusing on the rhythm and beats with all else in the background. The beats change from song to song - African, Middle Eastern, down tempo (before that was a thing), ambient and funky. And, several songs do sound like the Talking Heads' "Remain in Light" in their infancy. This album is not for everyone but if you're a big "Remain in Light" or ambient/down tempo fan, it's worth a listen.

"Buffalo Springfield Again" is the second album by Canadian-American rock band Buffalo Springfield. Folk rock, pyschedelia, country folk and hard rock are the classified genres but they go deeper into other ones as well. The album was recorded over nine months in LA and NYC and was fraught with dysfunction with essentially each member producing their own material independently. The band is Stephen Stills (vocals, guitars, keyboards), Neil Young (vocals, guitar), Richie Furay (vocals rhythm guitar), Bruce Palmer (bass) and Dewey Martin (drums, vocals). Commercially, the album hit #44 in the US and, critically, is considered a classic of the pyschedelic era. A "dirty sounding" Neil Young guitar opens "Mr. Soul." Young said he was trying to get that Stones' "Satisfaction" sound. And he does. Layered guitars. A great pyschedelic song. It's about Young's personal problems with fame and disregard for rock fandom. Young also penned and sung "Expecting to Fly" with the famous LA Wrecking Crew as his back-up band. With strings, this is actually baroque pop. Don't count out the power of the band when they come together and we get that on Stephen Stills' "Bluebird." Young with electric guitar riffs and Stills matching him on the acoustic guitar. Great finger picking. It's a love song about Judy Collins and not the last song about Judy Collins that Stills would be involved in. Still delivers another rocker in "Hung Upside Down." Great guitar again and great vocal harmonization with Stills and Furay. It's Furay's turn with the ballad "Sad Memory." His vocals are in the forefront with guitars in background. "Rock & Roll Woman" is the song that best highlights the distorted guitar of Young combined with the vocal harmonies of Stills and Furay. A song that is apparently about Grace Slick. This album covers a lot of ground right away with a pyschedelic rocker going to a country rock song to a jazzy-folk song and finally to baroque pop. There's also a ballad thrown in later. The pyschedelic rockers are classics. This albums hints to where each of the vocalists would go next: Young's electric guitar riffs to his solo material and with Crazy Horse, Stills' acoustic guitar and harmonies to CSN(Y) and Furay's more country rock to Poco. If you like any of those groups (and most of you do), this an album to listen to and enjoy.

"The Chirping Crickets" is the debut album by American band the Crickets. It is the only album released during the lifetime of lead vocalist/guitarist Buddy Holly. The music is defining in the rock and roll and rockabilly genres. Besides Holly, the Crickets are Jerry Allison (drums, backing vocals), Joe B. Mauldin (contrabass) and Niki Sullivan (rhythm guitar, backing vocals). The album reached #5 in the UK. "Oh, Boy!" opens the album. A song written by Sony West (and others) who wanted Holly to have it instead of himself. Quick drums. Holly's distinctive voice. Great backing vocals (on all these songs). A great 10 second guitar solo. You gotta be quick when the song is two minutes long. A Bo Diddley riff highlights "Not Fade Away." Got to love the start-stop-start drums. I think there was another band that covered this a few years later???? The third and final single "Maybe Baby" falls in the rockabilly category with the drums. Holly is defintely having fun playing around with the maybe baby lyric. One of the most famous guita intros begin "That'll Be the Day." Holly crooning just showing off his vocal charisma. Sonny Curtis contributes on the guitar. Subtle backing vocals. It is pretty much a perfect song and, also, hit #1 in the US and UK and, in 1969, was inducted into the National Recording Registry for its artistic significance. Well, what to say? These are classic songs, each clocking in at approximately two minutes. Holly has just tremendous vocals with his range, confidence, playfulness and charisma. The songwriting and guitar play are rock solid. Being in the do-wop era, the backing vocals play an important part (not do-wop though). A rock and roll classic in every sense.

"Paul's Boutique" is the second album by American hip hop group Beastie Boys. It was produced by the Beastie Boys and the Dust Brothers and extensively uses samples drawn from funk, soul, jazz and rock. In fact, 105 or more samples are used which had a far less licensing cost than in today's world. The album is considered a landmark in the golden age of hip hop and a seminal work in sample-based production. It was commercially unsuccessful compared to their debut hitting #14 in US and #44 in the UK charts. The first full song is "Shake Your Rump." A hip hop beat and groove. The rapping is quick among the three Beastie Boys. Layered samples coming right after each other. A personal favorite of mine is "Johnny Ryall." It has slower beat and is about a homeless man. 11 songs are sampled including Pink Floyd. Who knew the Eagles "Those Shoes" could be incorporated into a good song? The Beastie Boys did in "High Plains Drifter." The boys go gansta here. They get a great groove going in "Hey Ladies" with apparently had 20 samples including the Commodores. Their second single "Shadrach" gets the groove going also with some scratching included. It's only a matter before you need to call on James Brown for some samples. It's a modern retelling of the biblical story of three men refusing to kneel before a king and are saved by angels after being thrown in a kiln. The album closes with the epic "B-Boy Bouillabaisse" and its nine suites. The music constantly changes as we get a world-wind tour of NYC. 26 or so samples were used including memorable ones of the Isley Brothers' "That Lady" and Johnny Cash's "Folsom Prison Blues." This is a great album. There is just brilliant use of samples. Some of the samples are one-second brief with others carrying throught the whole song. They're also layered and musically over over place (rock, soul, jazz, blues). You could listen to this album multiple times and hear something different each time just given the sheer volume of samples. The lyrics are in-your-face, fast, funny and clever...lots of pop references. I'll say my most overused word this week again: a classic.

"Destroyer" is the fourth album by American rock band Kiss. It was a departure from the raw sound of their first three albums as producer Bob Ezrin introduced sound effects, strings, screaming children and a children's choir. And if you don't know, Kiss is Paul Stanley (lead vocals, rhythm guitar), Gene Simmons (bass, backing and lead vocals), Peter Criss (drums, backing and lead vocals) and Ace Frehley (lead guitar, backing vocals). Commercially, the album hit #11 on the US charts. There were mixed reviews critically but mostly positive. Sound effects of a guy watching TV who goes out for a drive opens "Detroit Rock City." Drums kick in and there is an echoing guitar. Layered guitars later on. Paul Stanley on vocals telling the story of a guy bored and cruising around. I don't think it ends well as there's a car crash at thd end. Hey, we get the children screaming in "God of Thunder." More of a heavy metal guitar. I don't how many bands these lyrics would work for as Gene Simmons describes how he was born on Mt. Olympus and commands the listener to kneel before him. Stanley and Simmons take dual lead vocals on "Shout It Out Loud." Their most anthemic song on the album. Catchy vocal and musical choruses. Simple lyrics. One of their best songs. It's Peter Criss' turn for lead vocals on the piano ballad "Beth" This is the song that saved the album commercially to some extent. Big production with a flute and strings. Lighters out of course. I liked this album as an eight-year old and it sounded pretty good today. The big production is rather ridiculous: strings and a symphony for "Beth" and "Great Expectations. " It worked for me. The lyrics are simple targeting their audience. The anthem songs are catchy. I'm not going to grab any new Kiss army members or distract any existing ones today. For me, this is up there with "Kiss" and "Dressed to Kill" as their best.

"The Yes Album" is the third studio album by English progressive rock band Yes. It is the first to feature guitarist Steve Howe replacing Peter Banks and the last one with keyboardist Tony Kaye until "90125." It is also their first album with all original material. The music expanded incorporating additional styles including jazz piano, folk and acoustic music but keeping their three-part harmony vocals, Chris Squire's melodic bass and Bill Bruford's spacious drumming. Lead singer Jon Anderson rounds out the crew. This album was their commercial breakthrough reaching #4 in the UK and #40 in the US. It was also critically well received. Fast guitar slashes, a plunging bass and an organ background begin "Yours is No Disgrace." Kaye's organ and Howe's guitar really shine here. Layered music. Vocal harmonies as Anderson sings an anti-war song. The band really let's their prog out in "Starship Trooper." It's a three part song that takes you on a journey. In the first part "Life Seeker," Anderson sings about Motther Earth and guardian angels. A start-stop pace in this section. The second part "Disillusion" has guitar finger-picking and vocal harmonies with Squire in the lead. "Würm" ends it with a Howe guitar solo. Everyone has heard the tremendous a capella start to "I've Seen All Good People." Another song with parts. The first part "Your Move" has Howe playing a Portuguese guitar and a section with two recorders. Anderson comparing chess pieces and moves to a relationship. This might be their their most "pop" song. The song ends with more traditional rock-out in the "All Good People" part. The last song "Perpetual Change" takes us on a even more complex ride than "Starship Trooper." There's time changes. Stops and starts. Polyrhytmic sections. Organ and guitar solos. A grand finale indeed. This a very good album both appreciating the technical expertise and just general songcraft. The band effectively takes off in all directions with different lead instruments and solos but when they want to come together, they can really rock. This album and style might exhaust some people but I find them to be my favorite of the prog rock groups when they sound like this. This is a must-listen album as are their next two albums, "Fragile" and "Close to the Edge."

"Technique" is the fifth studio album by English electronic rock band New Order. The music incorporates Balearic beat (DJ dance music from Portugal) and acid house into their dance-rock sound. The band spent time on the Portuguese island Ibiza and actually recorded part of the album there. Commercially, the album hit #1 in the UK and #32 in the US. It also received generally positive reviews. The album opens with the first single "Fine Time" and its fast electronic drum and dance synth beat. There's overlayed synths carrying the melody. Lead vocalist Bernard Sumner is whispering and singing. This is a busy song and showcases their new found musical interests. The lyrics were inspired by drummer Stephen Morris' car getting towed and he had to pay the fine. I get it. "Round & Round" is a dance-centric song. High-pitched synths combine with electronic drum beats and bass. Layered dynths again. Echoing vocals. Another good song. The third and final single "Run" starts with acoustic and electric guitars and that Peter Hook bass. This time the guitars are layered with the synths and produce a great melody. Catchy with a hook. A dreamy synth sound initially highlights "Vanidhing Point." Soft drums, bass and dance beat. Synths carry the melody with a more subdued vibe. The song's lyrics seem to be tackling a more serious subject (child abuse?). This is a really good album with no fillers. I remember that when i first heard it and it still holds up. The band mixes their newer dance-influenced songs with songs that have more of a traditional New Order sound. The album's flows beautifully. The production is very high with detail. This is one of New Order's best albums (and may be their best) which is saying a lot.

"John Lennon/Plastic Ono Band" is the debut solo album by English musician John Lennon. The album was backed by the Plastic Ono Band including Klaus Vossman ( bass), Billy Preston (piano) and Ringo Starr (drums) and was released by Apple Records in tandem with the similarly titled album by his wife Yoko Ono. It was co-produced by Lennon/Ono and Phil Spector and captures an emotionally raw Lennon after his recent primal scream therapy. The lyrics address his personal issues including child abandonment and physiological suffering. The album reached #8 in the UK and #6 in the US. It actually had mixed reviews upon its release but now is widely recognized as his best solo album and in the top three albums of post-Beatle member albums. Church bells and rain sounding open "Mother." The piano, bass and drums come in as Lennon emotional sings about his parents abandoning him as a child. A gut-wrenching vocal delivery as he screams lyrics such as "Momma don't go, Daddy come home." "Working Class Hero" is another stark ballad. With just an acoustic guitar, Lennon comments on the social differences between the middle and upper classes. The second side opens with "Remember." It is more fast-paced and Beatle-esque and about things he remembered in his primal scream therapy; it takes you on a musical ride. Some more great Lennon vocals. The band gets larger with dual pianos in "God." It has three parts with the first part God a concept on how we measure pain. John has a list of concepts/items he denounces in second part including God, Elvis Presley and the Beatles. He wraps it up with his changes since the Beatles broke up. The album ends with "My Mummy's Dead," a short, tender song about John still dealing with his Mother's death. This is an album with very direct lyrics and emotional vocals. It is mostly serious and sometimes somber. Musically, the songs vary a bit with stark ballads, Beatle-esque pop and more rockers. It is a very good album and, I agree with the critics, ranking up with "Band on the Run" and "All Things Must Pass." Actually, maybe passing them, but I'd need to give a deeper listen to the other two.

"Ananda Shankar" is the debut album by Indian musician Ananda Shankar. Ananda is the son of dance and choreographer Uday Shankar and nephew of classical Indian musician Ravi Shankar. The album's music fuses Indian music with Western rock and electronic music. The two main instruments are the sitar and the moog synthesizer played by collaborator Paul Lewinson. The songs are mainly instrumental. The album had major influences on world music fusions. The album opens with a cover of the Stones' "Jumpin' Jack Flash." A guitar and bass and the sitar carrying the melody. The moog synth joins in and carries the melody too but mostly stays in the background along with some vocal chanting. Interesting. They also cover the Doors' "Light My Fire." This is a better cover capturing the pyschedelic vibe of the song. The sitar and moog carry the melody again. A pretty standard rock rhythm section with a tabla added to the beat. "Metamorphosis" is more Eastern with the sitar front and center and is a fusion of the long classical musical songs I've heard from his Uncle Ravi and Western jam band songs. The 13-minute epic "Sagar (the Ocean)" begins the second side. Wind blowing with moog deep in the background. This is a sitar jam. The tabla and an acoustic guitar come in halfway. Very chill. The album closer "Raghupati" is an acoustic ballad. The only song with sung vocals. Some more chanting. Acoustic guitar and drums. I guess you couldn't do a Western album at this time without trying to capture the "Summer of Love." This is an interesting album. The fusion works for me. Overall, the music defintely has a more western feel with the Indian instruments, the sitar and tabla, added to standard rock band instruments. There's a nice job too of the capturing the pyschedelic and progressive rock music of the time. If you're interested in checking out Indian music and want to take baby steps, this would be a good place to start. But, overall, this is just a good album to listen to without any intentions.

"Fire of Love" is the debut album by American rock band the Gun Club. Post-punk, punk blues, gothic country and pyschobilly are the named genres and yes, all of that this is. The album is known for being a first of its kind in combining their sound of punk with American roots music. The Gun Club is the band of lead vocalist and guitarist Jefferey Lee Pierce with a rotating group of members. For this album, the band included Ward Dotson (guitar and slide guitar), Rob Ritter (bass) and Terry Graham (drums). A driving guitar and punk-ish rhythm section open "Sex Beat." A slide guitar indeed giving it a rockabilly vibe. This is very "X"- sounding. Not a bad thing at all. A song named after the Cramps' lead guitarist, Poison Ivy, has to be good and "For the Love of Ivy" is just that. Rockabilly with the guitar again. They get the slow-fast-slow thing going with each "fast" section increasing in intensity until the song ends in chaos. Now we're talking. The band has the ability to just rock out and that's what they do in "Fire Spirit." Pierce is going to the mountain where the fire will stop. The band continues their punk-rockabilly fusion on the second side with "Ghost on the Highway." A femme fatal story? On "Cool Drink of Water," they cover Tommy Johnson and show their tradional blues side. Of course, they throw in some weird noises, just cause. "Goodbye Johnny" ends the album and is a sparse song with guitar slashes. Pierce has got to get away from NYC and Johnny Thunders and its elements. This band definitely has a fairly unique style with its punk-rockabilly fusion at the time. Pierce's vocals with his screaming, singing and talking do remind me a lot of Suicide's Alan Vega. They do vary it up a bit with punk, rockabilly, blues and straight-forward rock. There's a raw and sparse feeling to the music. They're at their best when they slowly build the intensity and end chaotically. Overall, a very decent album.

"Dry" is the debut album by English singer-songwriter PJ Harvey. Alternative rock, indie rock, blues rock and post-punk. Sounds about right. Besides being the lead vocalist, PJ played the guitar and violin. Steve Vaughan played the bass and Rob Ellis was on the drums and harmonium. The album hit #11 on the UK charts and had wide-spread critical acclaim. "Oh My Lover" opens the album up. Slow. Deep bass. A bluesy guitar. PJ emotionally singing. A raw, unique sound. The band kicks it up a notch in "O Stella." Drving guitar. The band really rocks it out. Pounding drums carry throughout the first single "Dress." A crawling guitar which eventually goes to a guitar solo...evil sounding. PJ describes a man falling for the dancing costume and not the woman. A defiant chaotic ending. A slow, crawling guitar opens the second single "Sheela-Na-Gig." The band rocks out again. PJ is having trouble impressing a man. The song keeps the intensity ratcheting up until it just ends. "Fountain" starts slow and builds. PJ emotional vocals carries the song as she seems to repeat the cycle of starting and ending a relationship. This album is raw, rockin' and just great. PJ leaves no doubt that she will be a force to reckon with in the future. Her voice and music have an intensity. The lyrics are personal, sexual and straight to the point. I can't think of a PJ Harvey album I wouldn't recommend. Her debut is an obvious place to start.

"Life's Too Good" is the debut studio album by Icelandic alternative rock band the Sugarcubes. The music is post-punk...not much more to say there. The album title was a humorous take on pop music's optimism. The album was an unexpected success and garnered them international attention. The Sugarcubes are Björk Guðmundsdóttir (vocals, keyboards), Einar Örn Benediktsson (vocals, trumpet), Bragi Ólafsson (bass), Þór Eldon (guitar) and Sigtryggur Baldursson (drums). The album hit #1 in the UK and #54 in the US. The second song and last single "Motorcrash" has fast drums and an angular very post-punk guitar which keeps up the pace. Björk's vocals are layered as she describes a girl who goes to motorcrashes. We get a hint at the strength of her voice. Einar throws in trumpet parts and says Einar things in the background vocals. "Birthday" was the song that broke them into the mainstream and now Björk starts to really let her vocals loose. Bass, a crawling guitar, more trumpet. Björk said the song was about a tasteless love affair drawing memories from her as a 5-year old. My favorite Sugarcubes' song is "Delicious Demon." Here, Björk's vocals explode and you realize, yeah, she'll be going places. The most effective use of Einar's vocals combined with Björk's. The band really goes goth in "Coldsweat." Heavy drums and bass. The scratching guitar fits perfectly. "Deus" was the third single maybe the most poppy and bouncey song on the album. A good drum beat and guitar. A keyboard melody. I don't think she believes in God. I remember getting this album when it came out and liking it some extent; I really liked it today...it's aged pretty well. The music is absolutely post punk and even goth. There's a dark edge to the music and the lyrics that I don't remember picking up in 1988. It sounds more like an early 80's album which makes sense since the band had these sings around for some time before the album was released. And what can you say about Björk? This album is worth listening to just for her vocals. I can't think of many singers where a voice is just much bigger than the music. And hers is.

"The Coral" is the debut album by British rock band the Coral. Neo-pyschdelia and folk rock are the named genres but they actually dig into a lot more. The band had a residency at the Cavern in Liverpool before recording. The album was produced by Lightning Seeds' frontman Ian Broudie and the band themselves. The band is James Skelly (vocals, guitar), Lee Sothall (guitar), Bill Ryder-Jones (guitar, trumpet), Paul Duffy ( bass, sax), Nick Powers (keyboards) and Ian Skelly (drums). Commercially, the album reached #5 in the UK and #189 in the US. It had universal acclaim and was nominated for the 2002 Mercury Prize. Feedback and a guitar in low keys opens "Spanish Man." Rollicking drums. Layered vocals. Alright, this is OK. He's set sail again. "Shadow Fall" starts out like a spaghetti western. It morphs into some sort of reggae. There's a harmonica and that guitar in low keys again. I'm semi-confused now. They start to really mix things up now. The second single "Dreaming of You" is upbeat and I'm reminded of the Jam. Not for long though, as doo-wop backing vocals comes in. There's a country rock-esque guitar solo. The first single "Goodbye" does a nice job of mixing 60's pop with pyschedelia. There's 60's- sounding guitar and lead and backing vocals. A guitar solo leads them into the pyschedelic. Things slow up...wah-wah guitars, tom tom drums and a man counting down backwards. Nice! The album ends on a high note with "Calendars and Clocks." Acoustic and electric guitars. James Skelly doing his best Scott Walker. A Spanish-folk vibe. Don't worry, the pace picks up and slows down. The song ends with Beach Boys' harmonies and more 60's-esque music. The album covers a whole lot styles including traditional Russian music, spaghetti Western, reggae, pyschedelic, Middle Eastern, Frank Zappa, the Teardrops Explodes, blues, folk, country rock and 60's pop. It is a very busy album and straddled the line between brilliance and annoying me...often within the same song. Over time, it kind of won me over. There's more high moments than low. The music and band are challenging falling into a specific genre or category which I admire.

"Gold" is the second studio album by American musician Ryan Adams. Rock and alternative country appropriately define the genre. Ethan John's produced the album. The album hit #20 in the UK and #59 in the US and had mostly positive critical responses. The album opens with the first single "New York, New York" which eerily enough was supposed to be released in September of 2001 but was pushed back. Acoustic and electric guitars. A nice melody. A song written about an ex-lover whom Adams followed to NYC. A good job describing NYC. A sax fade ends the song. Ryan plays the banjo on the second single "Answering Bell." Slide guitar also giving it that alternative country vibe. The Counting Crows' Adam Duritz is on backing vocals. In "The Rescue Blues," Ryan goes for a more soulful and bluesy vibe. Mission accomplished with guitar and female backing vocals. A slow strumming acoustic guitar and piano open "When the Stars Go Blue." Adams goes falsetto and high pitched. Great harmonizing female backing vocals. Ryan at his emotional best. The lyrics comparing a marriage to collapsing stars. This is the highlight of the album, my favorite Ryan Adams' song and shows the how high Adams' can reach. A nice placement of the next song with "Nobody Girl." This is a straight-forward jamband rocker clocking in at 9:40. Adams does his best "Exile on Main Street" on "Tina Toledo's Street Walkin' Blues." A straight-forward bluesy rocker. He seems to be having a lot of fun of this one and it shows. This is a nice sounding and very well-produced album with the strings and horns. The first half has more ballad-type and slower songs with second half having more rockers. There is a variety of rock, country, pop and bluesy sounds. Most of the songs seemed to be about broken relationships. Geez, that's new and original. The album length may be long at 70 minutes. Some songs could have been chopped but basically that's Adams' entire career. Regardless, there's enough good here to give this a listen and recommendation. It's right up there with his best.

"Billion Dollar Babies" is the sixth studio album by American rock band Alice Cooper. Hard rock, glam rock, shock rock and heavy metal. Oh yeah! The album was produced by Bob Ezrin and was recorded at Connecticut estate and studios in NYC and London. It was one of the last albums as Alice Cooper the band before they broke and lead singer Vincent Furnier adopted the name. The album was a huge success hitting #1 in the US and UK. A cover of the Rolf Kempf-written and Judy Collins-sung song "Hello Hooray" opens the album. A classical-sounding guitar and drums. Strings are added giving this a big sound. Tight guitar solo...nice start. The first single "Elected" has guitar slashes with Furnier screaming. Horns. Strings. They're rockin' here and sound very similar to Cheap Trick which I never picked up before. This song is actually a re-write of "Reflected" from their first album, "Pretties for You." Fast drums and layered guitars and we're into "Billion Dollar Babies." Idiosyncratic drums. There's Donovan talking/singing in the background. They're showing off their heavy metal/glam side. The album/song title is a surprise at their success. The second side has the band go into the more macabre and shock zones but the start of it is probably their most known song in "No More Mr. Nice Guy." It's poppy. Catchy chorus. A reaction to Furnier's Mother's church group and the group's stage performance (lots of horror props). The album ends with the big sounding "I Love the Dead." Comical as the lyrical are about necrophilia. Starts subtle but adds piano, drums and horns. This is very Zappa-esque. No surprise as Alice Cooper's first three albums were signed to Zappa's Straight label. I'll use it again; this is big sounding and has big production. Strings, horns, layered guitars. At times, it does sound of its early 70's time but, overall, just sounds great. The band is focused. The music has catchy choruses and melodies. I had the previous Alice Copper album, "School's Out" in this challenge and thought it was OK. I liked this album a lot and give it a high recommendation for everyone including all church groups.

"Bitte Orca" is the fifth album by American rock band Dirty Projectors. Indie rock, art pop and prog pop are the listed genres. I honestly would have a hard time categorizing this to any genre. The album was producrd by band leader, multi-intrumentalist and vocalist David Longstreth. Other members include Amber Coffman (vocals, guitar), Angel Deradoorian (vocals, guuta, keyboards), Brian McOmber (drums), Nathan Baldwin (bass, keyboards) and Hale Dekle (percussion, backing vocals). The album hit #65 in the US and had wide-spread critical acclaim. Distorted guitar slashes open "Cannibal Resource." An idiosyncratic drum beat. Multiple vocals going off. Longstreth singing about, well, maybe carnivores vs. herbivores. An acoustic guitar opens "Temecula Sunrise." But, the instrument to follow is the electric guitar; it's all over the place including a solo. Strong female backing vocals. I'd guess this is about urban sprawl. Amber Coffman takes over lead vocals on "Stillness Is the Move." Strings and a drum loop. A great keyboard melody. This song has a groove too. It's a love song and probably their best song. It's Angel Deradoorian's turn for lead vocals on "Two Doves." It's a pretty song with acoustic guitar and strings. I think you might need a flow chart to describe "Useful Chamber" as it goes all the place but I like it. Strings. Keyboards. Electronic drum beat. Acoustic guitar. This songs starts, stops, goes into EDM territory, turns chaotic and reminds me a lot of the Flaming Lips. Longstreth closes things out taking the lead vocals on "Fluorescent Half Dome." Synth-heavy with strings. He seems to be confronting performing in front of people. Some more beautiful backing vocals. This is a unique album and hard to describe. Weird beats with song styles changing within songs. I'd call it experimental pop. I like this album quite a bit. The songs are catchy for me even though at times the band seems to be improvising. The vocals are strong especially the backing vocals. If you're up for an intriguing ride, this is for you.

"Get Rich or Die Tryin'" is the debut album by American rapper 50 Cent. East Coast hip hop and gansta rap are the genres. I'll comment on that later. At least 15 producers were used including Dr. Dre, Eminem and Mike Elizondo. There were also a number guest appearances including Eminem, Young Buck, Tony Yayo, Lloyd Banks and Nate Dogg. The album hit #1 in the US and #2 in the UK and received generally positive reviews. Coins rattles in the intro, the music turns on and we're into "What's Up Gansta." This is easy flowing and has a hip hop beat. 50 Cent is introducing himself. A big horn starts "Patiently Waiting." Dramatic with a haunting melody. Eminem joins in. He's gangster and will break your face. A hand-clap begins the first single "In Da Club." More dramatic music but a little more catchy. 50 Cent is rapping with the melody. The fourth and final singlec"If I Can't" has a keyboard-driven melody. Layered vocals. This is really poppy. "P.I.M.P" has almost a Carribean melody and beat. Needless to say, he's a pimp. "21 Questions" features Nate Dogg and is actually a love song. The guitar melody is a sample from a Barry White song. Sample a Barry White song for a love song...that's a no brainer. This is a pretty laid back album even with the gansta lyrics. It's pretty chill. I am nowhere near a hip hop expert but it had more of a West Coast feel to it. I'm sure Dre had a little to do with that. 50 Cent does not have the big, authoritative rap vocals but gets his point across. The hit songs are pretty "poppy" with nice melodies. There was also not an overload of sampling. Overall, a decent album.

"Isn't Anything" is the debut album by Irish-English band My Bloody Valentine. It is considered a pioneering work in the shoegaze genre. Original vocalist Dave Conway left the band and was replaced by vocalist and guitarist Belinda Butcher. Other band members included Kevin Shields (vocalist, guitarist), Colm Ó Cíosóig (drums) and Deb Googe (bass). The album reached #1 on the UK Independent charts and received rave critical reviews. "Soft as Snow (But Warm Inside)" starts it off with fast drums sounding like bullets and a buzzsaw distorted guitar. I'd guess Shields is singing about sex. The band goes with a straight-forward rock approach in "(When You Wake) You're Still a Dream." The drums are still fast and the guitar still distorted. The band really amps it up on the single "Feed Me With Kiss." Butcher and Shield on dual lead vocals. The vocals are buried with a wall of guitar sounds and drums. This song really reminded me of Sonic Youth in the "Goo" era and timewise this MBV album was prior. By "Sueisfine,"the band is on fire. It's another straight-forward rock song with dual lead vocals. The machine-like drums are even faster. The band used acoustic guitars on some earlier songs and they bring them back for the closer "I Can See It (But I Can't Feel It)." But, of course, there's distorted guitars in the background. This is a great album. It reminded me a lot of Dinosaur Jr. and Sonic Youth. Incredibly, they would take a great leap forward on their next album leaving no remnants of comparisons to other bands. However, on this album, there are acoustic guitars and some straight rock songs. A few dreamy ones too. The music and the band seem to intensify as the album progresses. A high recommendation.

"The Band" is the second studio album by Canadian-American rock band the Band, also known as "The Brown Album." The music is categorized as roots rock, folk rock, country rock and Americana. The album is considered loosely a concept album with songs focusing on people, places and traditions associated with an older version of America. The Band is Robbie Robertson (guitars), Rick Danko (bass, fiddle, trombone and vocals), Levon Helm (drums, vocals, guitar, mandolin), Richard Manuel (vocals, piano, drums, sax, harmonica) and Garth Hudson (organ, clarinet, piano, accordion, Sam's, trumpet, bass pedals). The album hit #9 in the US and had universal acclaim. In 2009, it was inducted into the Library of Congress for its artistic significance. "Across the Great Divide" opens the album. Piano, guitar, bass, drums, horns and an organ bringing an uplifting feeling. Richard Manuel on lead vocals as he sings about a wife who has a gun on him. The fight eventually ends and he wonders where the gun went. Levon Helm takes the vocalist lead on "The Night They Drove Old Dixie Down." An acoustic guitar and great backing vocals. It's a first-person narrative from the viewpoint of a young confederate soldier on the last day of the Civil War. Helm takes the lead again on "Up On Cripple Creek." The MVP on this song is Garth Hudson who's playing a clavinet through a wah-wah pedal giving this song some funk. A soaring organ. A trucker is contemplating going back to his wife or not. They deliver a few simple bluesy rockers in "Jermima Surrender" and "Lookout Cleveland." Not every song has a detailed story. The album closes with "King Harvest (Has Surely Come)." Manuel back on lead vocals as he tells the tale of a poverty-stricken farmer. The band brings the funk and soul with an organ, electric piano and Robertson's guitar. Robbie rips through a great solo. Nice ending song. Each song on this album brings something whether it's an emotional, a heartfelt, a loneliness, a funky or a rockin' feel. The multiple vocals work really well and deliver some excellent choruses. The instrumentation is impressive and adds to the vibe or tone they're rying to create. A classic in every sense of the word.

I think the randomizer might have come into play on this eclipse day. "Darkness on the Edge of Town" is the fourth studio album by American singer-songwriter Bruce Springsteen. The album was recorded after a lengthy legal dispute between Bruce and former manager Mike Appel. This allowed for the band to write about 70 songs. It is a more raw, harder rock sound than the "wall of sound" "Born to Run." The music and lyrics were inspired by John Steinback novels, John Ford novels, punk rock and country music. The album hit #5 in the US and #14 in the UK. The album initially had decent critical reviews upon its review but now it is considered one of his best works. An anthemic start opens the album and "Badlands." Muddled but hopeful vocals by persevering to succeed against oppression. It slows down and speeds up as Bruce wants to spit in the face of these badlands. A long piano intro begins the melancholic "Something in the Night." Great and emotional yearning and howling by Sprinsteen. Piano, drums and Springsteen whispering begins "Candy's Room." The drums explodes and pretty much carry the song the rest of the way. A fantasy song and, actually, one of my favorite of Springsteen. The harmonica takes the place of the piano as the first instrument heard in "The Promised Land." Another hopeful song running parallel to the opening song. A nice sax solo. The first single was "Prove It All Night." A pretty standard rock song but sounds good. The album closes with the self-titled "Darkness on the Edge of Town." Piano driven and emotionally sung, it wraps things up by the narrator losing everything but refusing to give up...the overarching album theme. This album has some of Springsteen's best and more emotional vocals. It does have a harder edge than "Born to Run." This isca good album to look at with regards to his timeline; with the abundance of songs written, some of these end up on his next album "The River." The somber and more melancholic songs also point to where he would go on "Nebraska." Overall, this album ranks pretty high on my Springsteen album list.

"Daydream Nation" is the fifth studio album by American alternative rock band Sonic Youth. There are lots of genres to label their music but I'd just call it alternative rock with unorthodox guitar tuning and song structures. The lyrical themes deal with burnout, the music industry and the crack epidemic. Actually, they sing a lot about drugs to my ears; the music makes more sense then. This double album received wide-spread critical acclaim earning them a major label deal and had a profound influence on indie and alternative music. Yes. In 2005, the Library of Congress put it in the National Recording Registry for its artistic significance. "Teen Age Riot" begins the blast off. Off-key guitar chords, singer/bassist Kim Gordon repeating "No you're it." That stops. A fast, distorted guitar begins the melody and the band kicks in. Yeah, this song has always rocked to me. Guitarist Thurston Moore on lead vocals as he is describing an alternative universe with Dinosaur Jr.'s J. Mascis as president. It could be worse...It has been worse. The second song "Silver Rocket" continues the musical assault. It's fast and punk and eventually goes into noise chaos (that's like every Sonic Youth song). I think the silver rocket is heroin or some other drug. You eventually find that a Kim Gordon song is your favorite and there's a couple here. "'Cross the Breeze" has a nice alternative-sounding melodic guitar. This is fast. Kim wants to know. What about? I think it's got be about the drugs. She changes topic on "Kissability." This is dramatic. Sex appeal will get you famous. You think? The album ends with the sprawling "Trilogy." The first part "The Wonder" is based on author's James McElroy portrayal of mysterious LA. Here, Moore does it to NYC. "Hyperstation" is mostly an instrumental with lots of feedback. This has got to be about a drug trip. "Eliminator Jr." is named so since the song sounds like a mixture of ZZ Top and Dinosaur Jr. And it does. Distorted guitars and pounding drums. Woah, this is a big album and a great one at that. Dreamy, hard, punk, stoner, and trippy all describe the music. There's long jams with feedback and noise. Steve Shelby's drums are fabulous. They definitely try to out-hip the hipster mentioning or referencing William Gibson, J. Mascis, Andy Warhol, LSD, heroin, crack, Joni Mitchell, Jimi Hendrix and Pere Ubu. The songs start melodic and nearly all of them end in some sort of chaos and destruction. My kind of music and probably their best album.

"A Wizard, a True Star" is the fourth studio album by American musician Todd Rungren. The album was self-produced, self-engineered and largely self-performed with Moogy and the Rhythm Kings as his backing band. The album can best be described as a chaotic, pyschedelic first side and a soulful, R&B second half. Rungren admits to having experimenting with pyschedelic drugs to get the most out what music sounded like to his internal environment. That explains side one. The album sold poorly hitting #86 in the US but had wide-spread critical acclaim. Side one ("The International Feel (in 8)") opens with what sounds like a motor in "International Feel." Wobbly keys. This is very spacey. Rungren singing not to give up. The album continues without any breaks with one to two minute-long songs. The highlight of these may "Rock and Roll Pussy" where he is criticizing John Lennon and other "limousine radicals." A nice guitar jam. The first full-length and probably best song is "Zen Archer." An accordion and the first "Todd-like" song. It's still very dreamy and pyschedelic. Side two ("A True Star") begins with "Sometimes I Don't Know What to Feel." This is more like it if you're looking for old Todd. Slower, more horns, a piano, bscking vocals and more soulful. "Medley" is a four-song ten-minute medley of some classic R&B and soul songs including ones by Curtis Mayfield and Smokey Robinson. An interesting, unique and well-done song medley. The last two songs come full circle back to the Todd we know. "Is It My Name" rocks pretty hard with a forward guitar. And eerie sounding keyboards that Rick Wakeman may have been playing. Todd gives us one of his best songs "Just One Victory" as the closer. Great backing vocals that harmonize and criss-cross with Todd's vocals. Very soulful. Optimistic with the theme of pulling through the day to shine. The best way to describe this album is one of dual personalities. The first side is spacey dreamy, pyschedelic and stream of consciousness with the no breaks between songs. At times it almost sounds like you're listeng to a 45 rpm album. It might also be good to take some of pychedelics that Tood took to enhance the experience. The second side is soulful, heavy R&B and rock & roll. The band is jamming and ends with one of his best songs. I like this album quite a bit. It might be difficult for some but worth the effort.

"Horses" is the debut studio album by American musician Patti Smith. The musical genres listed are punk rock, art punk and garage rock. That's about right; I don't know if it neatly fits into a single genre though. The music on this album is known for its simple chord progressions and propensity for improvisation. The lyrics are personal often intermixed with imagery and dreams. Patti is the vocalist with Jay Dee Daugherty on drums, Lenny Kaye on guitar, Ivan Kral on bass and Richard Sohl on piano. The album was produced by John Cale. Commercially, the album hit #47 in the US. It was widely acclaimed and, in 2009, it was put into the National Recording Registry by the Library of Congress for its artistc significance. The album's opens with the two part "Gloria." Piano and Patti's famous statement that "Jesus died for someone's sins but not mine." The first part "In Excelsis Deo" starts slowly and builds intensity. They eventually are rocking out and a go into version of Them's "Gloria." Maybe, her biggest song. The band moves in a jazzy way in "Birdland." Piano and a jazzy guitar which gets rockin with a wah-wah style at the end. The song tells the story of Peter who's at his Dad's funeral and imagines getting carry away at the end by a UFO with his Dad as the pilot. "Free Money" is worth mentiong since it is the album's most rockin' song and another interesting story as Patti tells of growing up in a poor family and her Mother dreaming of winning the lottery. "Kimberly" opens the second side. Bass, drums and a droning keyboard sounding very much like Suicide. The lyrics describe Patti's younger sister visiting Jim Morrison's grave and dreaming of a winged Morrison trying to break free. The album ends with the stark "Elegie." It's a tribute to Jimi Hendrix. An appropriate echoing guitar. Patti has a distinct style singing, talking, and rapping and being edgy and emotional. Most of the songs tell stories with most being in a dreamy state. Patti's poetic voice and lyrics are the focus of the songs with the music following. In most cases Patti's voice and music build to the end. This is a great album, worthy of all its accolades.

"m b v" is the third studio album by Irish-English shoegaze band My Bloody Valentine. It was their first release of original material since their 1991 classic album "Loveless." It was self-released and self-produced by singer/guitarist Kevin Shields. All the other original band member remain the same: Belinda Butcher (vocalist/singer), Debbie Googe (bass) and Colm Ó Cíosóig (drums). The album reached #29 in the UK and had much critical acclaim. Surprise! Surprise! Surprise! The first song "she found now" has distorted/feedback guitars and dreamy vocals. No drums though. The vocals are very muffled. I think it's about a woman who cheated on a guy but still loves him. "only tomorrow" adds drums and a distinct bass. The wobbly buzzsaw guitars are still there but much more melodic. Layered guitars. This song sounds like it could have come from "Loveless." The strong first three songs concludes with "who sees you." Dual lead vocals with Shields and Butcher. They harmonize. Great building the intensity of the song as it progresses. A guitar sounding like a synth ( I think) and an electronic drumbeat begin "new you." More guitars. Shields and Butcher singing like instruments. I don't know if anything of what they're singing are words. Wow! This is almost danceable. Weird noises and a fast drum and we're into "in another way." A nice change of pace from "new you." Chugging and machine-like guitars. Another song with a really nice melody and a unique one at that. 23 years later and My Bloody Valentine still have the distorted, wobbly, buzzsaw guitars in the forefront. It is hard not to compare to "Loveless" but there's enough here that's different. There are minimal vocals which are always in the background. Needless to say, it's very atmospheric. There are a couple songs that don't work. But, most do work with a couple among the best songs I've heard from them. Maybe not quite the groundbreaking album as their previous one but a very strong album.

"Out of Step" is the only studio album by American hardcore punk band Minor Threat. It is noted as being a critical release in punk rock, influencing the grunge, post-hardcore, skate punk and the thrash metal musical genres and the youth crew (straight edge - no drugs or alcohol) subgenre of hardcore punk. The lyrics have themes of self reflection, youth frustration, personal problems and difficulties with friendships. Minor Threat is Ian MacKaye (lead vocals), Lyle Preslar (lead guitar), Brian Baker (rhythm guitar), Steve Hansgen (bass) and Jeff Nelson (drums). Fast guitar slashes open "Betray." The band kicks in. MacKaye screaming about frienships changing. Dual guitars and the band gets groovy then goes back to thrash. At three-minutes, it is one of the longest songs on the album. We get a bass start in "It Follows." The thrashing guitars. All the things that MacKaye didn't like (cliques, herd mentality, bullies) have followed him into his hardcore group. "No Reason" has dual lead vocals. Another fun song. There's no place to be an elitist. The band actually pokes fun at themselves on the closer "Cashing In." They're only in it for the money. We actually get a guitar solo. The band shows it's melodic chops too. If you're looking for some good ole' hardcore punk, this is your album. MacKaye's lyrics are direct and maybe too preachy but you know where he stands. The band does show signs outside hardcore with the melodic and groovy/funky ventures they take. MacKaye would take this style a step further with Fugazi but this album is great on its own.

"Another Music in a Different Kitchen" is the first studio album by English punk rock band Buzzcocks. This album had the third line-up on the band after the departure of the original lead vocalist Howard Devoto who was replaced on vocals by lead guitarist Pete Shelley. Besides Shelley, other band members included Steve Diggle (rhythm guitar, backing vocals), Steve Garvey (bass) and John Maher (drums, percussion). The album was produced by Martin Reshent. The opener "Fast Cars" has to have a fast start and it does. Rhythm guitar and an echoing lead guitar. Shelley has that Johnny Rotten sneer down too. No one expected you to lead the album off with a song mentioning safety advocate Ralph Nader. The band rolls through some more melodic fast paced punk songs and closes Side A with "Sixteen." Machine-like militaristic guitars and drums. A hypnotic riff and beat. Of course, you end a side in chaos and with a song expressing hate on modern music. On Side B, the band really brings the melodic power pop punk. The only single "I Don't Mind" has a rockin' beat and catchy, melodic guitars. It's definitely the most pop song on the album. The protagonist has low self-esteem and is paranoid about losing his girlfriend since he's not worthy. A prevalent guitar leads "Autonomy." A nice up and down the scales, very catchy. He wants to be free from control. A drum intro begins the album closer "Moving Away from the Pulsebeat." A Bo Diddly guitar riff. A searing guitar solo on this seven-minute long song. Quite the finish. This album has fast, punk, melodic songs. Side A has the faster, more hardcore punk songs. Side B showcases their melodic, catchy side. I heard their influences especially thinking of Hüsker Dü. Their compilation album "Singles Going Steady" is probably the est place to start with this band but this album is also worthy of a listen with really no bad songs.

"Murmur" is the debut studio album by American alternative rock band R.E.M. This album had very high critical acclaim attributed to its unusual sound - lead singer Michael Stipe's cryptic lyrics, Peter Buck's jangly guitar style and bass guitarist Mike Mill's melodic basslines. Completing the quartet is Bill Berry who just happens to be the drummer and percussionist, sing backing vocals and play the bass and piano. The original producer was to be Stephen Hague but the band did not like his approach; they wanted no rock and roll clichés such as synths and guitar solos. The producers ended up being Don Dixon and Mitch Easter. The opener "Radio Free Europe" gets things going right away with drums/percussion and then the jangly guitar and melodic bass. Michael Stipe's indecipherable lyrics. Even he said most of what he wrote was gibberish. All I can make out is "Radio Station." A unique sound and a classic song at that getting put into the National Recording Registry in 2009. The "Take a turn, take up fortune" chant starts "Pilgrimage." Mills on vibraphone (I think) and Buck's guitar. An idiosyncratic drum beat. This is classic pop song structure as it builds with the vocal choruses. Great backing criss-crossing and harmonizing vocals by Mills and Berry. Good luck figuring out what this is about. Their second and final single "Talk About the Passion" is slower, featuring an acoustic guitar. The backing vocals. Stipe says it's a song of hunger for him. A nice cello closes it out. Slashing and a reverb guitar open "Moral Kiosk." Some more chaotic criss-cross vocals especially after Stipe sings "Inside the moral kiosk." No, I do not want to go inside the moral kiosk. One of my favorite songs on the album. Speaking of favorite songs, "Perfect Circle" might be a close second. Two pianos and a 12-string guitar. Stipe's best vocals on the album. Just beautiful. Bill Berry wrote this song and the other members say that this song has a different meaning to each of them. Just beautiful. They did not play it live until Berry left the band (FYI - Berry also wrote "Everybody Hurts). The second side opens with "Catapult." A rumbling bass and Stipe's jangly guitar which, I think, purposely sounds like a sling slot ( get it? Catapult). "Sitting Still" is their most straight-forward rocker. I like the lyric "ways to time sitting still. The album ends with "West of the Fields." It's more of a rocker too. Urgent guitar and bass. Another great deeper cut. Ah, a big one today. I remember first hearing this and being blown away. No one sounded like them in 1983. 41 years later and I'm still blown away. The songs came into the album being fully realized as R.E.M. had been playing them live for two years. So many great attributes here. Every band member is important. Yes, the jangly guitars, melodic bass and the cryptic lyrics but also the criss crossing and harmonizing backing vocals, Berry's drumming and percussion, using two pianos, a cello and a vibraphone. No, I don't want to know exactly what Stipe is saying. Needless to say, they go would on to record a string of great to fantastic albums for the next fourteen years. And yes, everyone needs to listen to and own this.

"Merriweather Post Pavilion" is the eigth studio album by American experimental pop group Animal Collective. This album combines the electronica-based sound of their previous album "Strawberry Jam" with a lusher, multilayered production. Guitarist Dekon (Josh Dibb) left after their previous album which led to the band's extensive use of synthesizers, samplers and reverb. Animal Collective was a trio at this point including Panda Bear (Noah Lennox), Avey Tare (Dave Portner) and Geologist (Brian Weltz). Commercially, it hit #13 in the US and #26 in the UK and critically, it had wide-spread acclaim with many labeling it the best album of 2009. Heavy machinery noise opens "In the Flowers." Dreamy with sampled voices and piano keys as Avey Tare describes meeting a girl dancer and they dance the night away until the morning when leaves her flowers. A great midway explosion with a drum beat and fast-paced keys. The wind blowing and synth-layered keys lead off their first single "My Girls." Great lead vocals by Panda Bear as he sings about only wanting a house for his wife and daughter, no social status. Hypnotic, superb backing vocals by Avey and just a fantastic song. I like the way they change the intro of each song and in their second single "Summertime Clothes" it's loud echoing synth sounds backed by a beat. The song is catchy and builds. It's a hot night in the city, Avey can't sleep and just wants to walk around with a girl. "Bluish" seems to be a straight-forward love song. Swirling synth keys and an organ. Avey sings in a falsetto. Panda Bear harmonizes the backing vocals. The closer ""Brother Sport" opens up with Panda Bear singing "You got to open up, open up your throat." It's a song with repetitive and hypnotic lyrics, beats and noises. The song with the most noise, synth and vocal layering and it completely works. It's about Panda Bear encouraging his brother to talk about his ordeals that have troubled him. One of Animal Collective's best songs. This is a great album and one of my favorites of the 2000's. Pyschedelic, dreamy and hazy but catchy. There are great lead and backing vocals sometimes harmonizing like the Beach Boys. Everything serms very detailed with the beats and multi-layeted synths. A high recommendation from me.

"New Wave" is the debut album by British rock band the Auteurs. The album is attributed to laying groundwork for Britpop. The British press named it a glam rock revival and the American press compared it to Suede. Hmmm. The Auteurs on this album were Luke Haines (guitar, piano, vocals), Alice Readman (bass) and Glenn Collins (drums). The album was shortlisted for the 1993 Mercury Prize. "Show Girls" opens the album. Drums and a melodic, poppy guitar. Actually layered acoustic and electric guitars. They do that throughout the album. Nice harmonies, definitely fitting in that Britpop genre. Haines married a showgirl and now he has to work all the time. On "Bailed Out," they add a piano to the layered guitars. A darker theme as the high life will wear you down. I like the touch of a cello at the end. They go more rockin' on "American Guitars." Great electric guitar melody. They're going after British bands who imitate American bands. That's you Bush. Yeah, usually it's the other way around. "Starstruck" slows things down. They're very good at slower songs. An acoustic guitar and a xylophone. It appears someone he knew is a star and he's not. "Early Years" begins with an acoustic strumming guitar and I thought they were covering the 1979 song "Driver's Seat" by Sniff and the Tears. Another good rock song and guitar solo. It was rough growing up in a small town. This is a really good album. It fits the bill as Britpop; I think they're closer to Blur then Suede but they're definitely their own. I'm not sure about the glam rock comparison??? Their songs are melodic both when the music is hard or soft. Haines has clever lyrics. For a first time deep dive into an Auteur's album, it makes me want to check out their other albums which I will do.

"Frank" is the debut studio album by English singer-songwriter Amy Winehouse. Jazz, R&B, soul, hip hop and bossa nova are the listed genres. I heard all that throughout the album. The album title was named after one of Winehouses' influences, Frank Sinatra, and alludes to the nature and tone of the lyrics. There were a host of producers including Commissioner Gordon, Jimmy Hogarth, Salaam Remi, Matt Rowe and Amy herself. Commercially, it hit #3 in the UK and #33 in the US. It had generally positive reviews and was shortlisted for the Mercury Prize. The album opens with Amy scatting which goes into "Stronger than Me." There's a slow hip hop beat and jazzy with the guitar and horns. She's frustrated with her partner who's not in control. Hand claps start "Fuck Me Pumps." This is sliding into R&B territory with a piano and organ. Amy is poking fun at women who go to clubs looking for guys. "In My Bed" really brings the kitchen sink. What sounds like congas, a guitar and a flute. Layered vocals. This song crosses into hip hop, jazz and bossa nova and is my favorite on the album. "Take the Box" is slower. There's a piano and female back-up singers. A R&B and soulful vibe. The album closes with a string of songs. "Amy Amy Amy" has an interesting beat and is sultry. She can't resist the evils of a man? Record company? Both? "Mr. Music" brings the jazz and dance beat. Interesting combo. The first thing you notice is the uniqueness of Amy's voice. The album slides into many different genres - jazz, R&B, hip hop and soul. I don't think I'd call it fusion but, regardless, Amy's easily sings in all those styles. I don't know if I completely understand the songs which change into another song midway through. This is a decent album; she would obviously take it up a notch with her next and last album but this is worth a listen.

"Parallel Lines" is the third studio album by American rock band Blondie. New Wave, pop rock, power pop, disco. Yes. Yes. Yes. Yes. It was the album that took them to international success, hitting #1 in the UK and #6 in the US. The album was recorded at the Record Plant in NYC under the production of Mike Chapman who was very demanding as he found the band to be unfocused and unstructured. Well, everything turned out just fine, with universal acclaim and, in 2024, it was inducted into National Recording Registry for its artistic significance. And if you don't know, Blondie was/is Deborah Harry (vocalist), Jimmy Destri (keboards), Frank Infante (guitars), Chris Stein (guitar), Nigel Harrison ( bass) and Clem Burke (drums). This album starts out blazing with four great songs. A phone is ringing which leads to the band kicking in on their cover of the Nerves' "Hanging on the Telephone." The keyboards have an 80's sound and the guitar leads the way with a great solo. Debbie's urgent vocals as she gets left hanging on the phone. The guitar shines again on "One Way or Another." Debbie let's loose with a snarl and her vocals are layered. There's not too many songs about stalking but here's one. The band changes gear with the poppy "Picture This." This was actually the first single. Very high production. Debbie's voice is perfect. She's falling for a guy that works in a garage. An organ synth opens "Fade Away and Radiate." Very Kraftwerk-esque. Debbie's little girl voice is sort of creepy and they bring in Robert Fripp to add an ominous guitar. Interesting lyrics as it describes falling asleep in front of a TV. This is a great deep cut. Catchy handclaps and melody highlight "Sunday Girl." More pop with the synths. This sounds very 60's-ish and was their last single. That famous disco beat begins their big one "Heart of Glass." Edgy guitar. Very catchy. Dreamy. Great, great production and perhaps, Debbie's finest vocals. Falling in love and having your heart broken. I like the earlier reggae version too. Details everywhere..I particularly like Burke's drums at the very end of the song. I've always thought of Blondie as a singles band but this album proves they were a great album band; it is a great album from start to finish. Whatever the producer did to motivate them worked in the end result. The band tight and there melody hooks all over the place. The songs go from poppy to more hard rock to disco. Debbie's vocals are flexible and great throughout the album. A clasic album and one to listen to again since this has aged very well.

"Screamadelica" is the third album from Scottish rock band by Primal Scream. The album was a departure from the indie rock sound of their two previous albums to music inspired by the house music scene and drugs, specifically LSD and MDMA. The majority of the production was handled by acid house DJ Andrew Weatherall and engineer Hugo Nicolson who remixed original recordings into dance-oriented songs. Commercially, the album hit #8 in the UK and, critically, received wide praise and won the 1992 Mercury Prize. The album opens with "Movin' on Up," a song that I remember being played in the US. Jangly guitar, piano and a beat. A gospel choir gives this a soulful vibe. Very optimistic and spiritual. A lot goes into this song and it works. We get the busy-ness again which also works in "Don't Fight it, Feel it." A great groove with percussion. Weird synth sounds including birds chirping. Denise Johnson on lead vocals. This sounds like it was DJ produced. The Orb produced "Higher then the Sun." And by the title you can imagine where this goes. It's dreamy, druggy and a slower beat. Churing synth sounds. Lead singer Bobby Gillespie's lyrics and vocals fit in perfectly. Midway through the album we come to their big songs which are very much extended. A gospel choir with a piano begins "Come Together." An acid house dance beat. There's horns and guitar giving it a soulful vibe. He's preaching peace. "Loaded" continues with a gospel choir and horn section and a slower groove. Piano, slide guitar and spoken word samples from "The Wild Angels." This is another good song . A slower song that's worth mentioning is "Damaged." Acoustic guitar and piano in this ballad. It's a love song and he got damaged when she left. There's a lot going on in this album which makes it a very interesting listen. Soulful, dance-oriented, acid house, gospel, dreamy, ballad. Definitely fusions of these musical styles. There's timely and detailed production with the added instruments. The extended dance songs work really well. There's other long songs which could have been trimmed down or eliminated. Sometimes the druggy, pyschedelic songs didn't work. But, overall there's a lot here to really like and one I recommend.

"Rain Dogs" is the ninth studio album by American singer-songwriter Tom Waits. It is a loose concept album about the urban dispossessed of NYC. There is a broad spectrum of musical styles and genres on the album so the listed genre is experimental which covers everything. It is part of a Tom Waits' 1980's album trilogy which also includes "Swordfishtrombones" and "Frank's Wild Years." The album hit #8 in the UK and #188 in the US. It had wide-spread critical acclaim and is considered one of the best albums of the 1980's. The album starts out with a pounding percussion, double bass, trickling guitar and trombone in "Singapore." This is very vaudeville. Waits is telling of a one-eyed sailor from Singapore. The first single was "Jockey Full of Bourbon." A James Bonds-esque guitar, a bossa nova beat, a trombone and Waits whispering. Top that! Very film noir. "Hang Down Your Head" is a straight-forward rocker. Tom's actually singing a very sad song as he is telling the woman he loves to leave him since she is love with another. The highlight of the first side is "Time." Accordion and acoustic guitar. Great lyrics as he describes a death angel coming to take people when it's their time. Or is it their time? Beautiful song. "Blind Slide" adds a slide guitar. Hey, this is country rock and Keith Richards shows up on guitar and backing vocals. Waits is just belting it out. His girl left him but he'll find her with his blind love. Waits goes almost pop music on "Downtown Train." Waits with emotional vocals sings about falling in love with a girl he sees on the train. Rod Stewart liked this song too. These are unique and at times odd songs. Waits is a detailed storyteller of random people and daily life. There are so many musical styles here (vaudeville, rock, blues, jazz, ballads, folk, pop, country rock and New Orleans funeral marching music). Songs move effortlessly from one to the next. This is a brilliant and tremendous allbum on a number of levels; the music, the lyrics and vocals are all outstanding. This is the best Tom Waits' album that I've heard and would rank pretty high on my best albums of the 1989's.

"Getz/Gilberto" is an album by American saxophonist Stan Getz and Brazillian guitarist João Gilberto. It also features Brazilian pianist/composer Antônio Carlos Jobim who composed many of the songs. It is a jazz and bossa nova album and is considered as the album that popularized bossa nova music worldwide. The album was widely acclaimed and won the 1965 Grammy for album of the year, the first non-American album to win the album of the year. The album opens with Jobim's "The Girl from Ipanema." João and Astrud Gilberto on vocals. A whispering João at that. A soft acoustic guitar. Getz comes in with the sax towards the end. "Desafinado" is similar sounding. A more prevalent bossa nova beat. João has a nice tenor voice. " Corcovado (Quiet Nights of Quiet Stars)" opens the second side. The piano gives this a more jazzy vibe with the underlying bossa nova beat. João and Astrud again on vocals. A melancholy saxophone opens "O Grande Amour." This is mostly instrumental and we get extended sax and piano solos. This is a gentle and soothing album. Delicate vocals by João. A nice fusion of sorts with the sax and piano giving it a jazzy vibe with percussion playing a bossa nova beat. I was going to say this is not a very adventurous album but I really liked the last two songs where we get extended sax and piano solos. An historic album and a very enjoyable listen.

"Legalize It" is the debut studio album by Jamaican singer-songwriter and former Wailer Peter Tosh. One genre listed...Reggae. The album was recorded at Treasure Island and Randy's in Kingston, Jamaica. The lyrics and tone of the album are his response to his ongoing victimization by Jamaican police and a political piece pushing for the legalization of cannabis, particularly for medical use. The album hit #199 on the US charts and #25 on the UK charts. Drums, the reggae beat and female backing vocals open "Legalize It." Tosh is singing to legalize cannabis as doctors, lawyers and nurses are smoking it; it's good for you, don't deny it. Horns are added to "Burial." This has a funkier groove actually bouncey. Anti-violence and anti-colonialism. A rock and roll and bluesy guitar highlight "No Sympathy." The blues guitar works perfectly with the reggae backbone. There's no love, no good word, no sympathy from his friends. "Igziabeher (Let Jah Be Praised)" adds a piano. The music is layered. Very much a spiritual vibe. Fear not of the evildoers for they will be cut down. Tosh slows things up on "Till Your Well Runs Dry." A ballad with a slide guitar. Another bluesy feel with the backing reggae. A melancholy tone as Tosh tells a woman who scorned him, where is she going to go when her well runs dry. This is great sounding music that mixes it up with a bluesy and wah wah guitars and a ballad. Tosh's emotional vocals are personal and sometimes spiritual. All songs have the underlying reggae to some extent but a few are more blues and rock and roll. I like that change of pace. A very good album that mostly everyone should like.

"The Clash" is the debut album by English punk rock band the Clash. It is considered one of the greatest punk rock albums of all time. The album was recorded over three weekends in London and Beaconsfield, England. The Clash was Joe Strummer (vocals, guitar, piano), Mick Jones (vocals, guitars), Paul Simonon ( bass) and drummers Terry Chimes and Topper Headon. Headon would become their permanent drummer. Commercially, the album reached #12 in the UK and #126 in the US (A US version was not released until 1979). Pounding drums, guitars slashes, the band kicks in and we're off with "Janie Jones." Fast, punk and a great vocal chorus. A regular guy is losing his job but he is in love with getting drunk and stoned and Janie Jones (who appears to be someone who can satisfy his needs). The band shows their pop'-punk melodic side in "Remote Control." Jones and Strummer on co-lead vocals. They go after beaurocrats, the police, big business and record companies. The first single was "White Riot." More fast punk with nifty guitars and a solo too. They join in a riot with black people, realize they don't fit in and need their own riot. Strummer's screaming the song title of "London's Burning" highlight the song as they have no place to go and are bored with driving around watching TV. "Career Opportunities" starts off sounding very similar to their contemporaries at the time, the Ramones. We get the Joe Strummer snarl. They're attacking the political and economics in London at the time. The band really changes things up with their cover of the reggae song "Police and Thieves." At six minutes, it is like three minutes longer than any other song. The bass is prominent. The pace is slower. Echoing guitars and a guitar solo. This is a great cover. "Garageland" closes the 14-song album. Some more driving punk. It's got a bouncey beat and what sounds like a harmonica. This is a response to a critic who said that this garage band should return to the garage. The band cranks through this album with mostly short punk songs. They're melodic and catchy. Sometimes the subject matter is political and social commentary and other times they're just bored with life. Their albums would, of course, become more varied but this is the album where they stayed focus in the punk rock roots. Shoot, they're creating the roots. A great debut album and a must have.

"Hypnotised" is the second album by Northern Irish punk rock band the Undertones. Lyrically, the songs focus on teenage angst, boisterousness and heartbreak. Critics found this album more sophisticated than their debut. I'd agree with that. Commercially, the album hit #6 in the UK. The album starts with "More Songs About Chocolate and Girls," an obvious poke at the Talking Heads' album with a similar name. A guitar start which carries the melody. There's layered guitars and a poppy beat. The lyrics are funny and meaningless from what I can make out. "Hypnotised" has a more driving guitar sound. It actually sounded very similar to the guitar sound in today's emo and pop alternative songs. He's in a trance when she dances. They do a decent cover of "Under the Boardwalk." I think this might been some sort of tribute to the 50's/60's pop songs which you can hear in their music. The albums' second side has their two singles. "My Perfect Cousin" has slashing guitar notes, a poppy, bouncey beat and is very, very catchy. People are comparing him to his perfect cousin Kevin and he's not too pleased about it. "Wednesday Week" is lighter with a Spanish sounding acoustic guitar and melodic electric guitar. Lead singer Feargal Sharkey is singing in a higher tone. This is a pleasant song. This album has music that is catchy, melodic, poppy, punk, garage and drving. At times, I really got a 60's pop vibe, particularly the Kinks and Zombies. Sharkey really stretches and strains his vocals. I actually went back and listen to their debut album again. This second album is similar but is more complex with better musicianship, layered guitars and better hooks. Both albums are worth a listen and are highly recommended.

"Grace" is the only studio album by American singer-songwriter Jeff Buckley. Alternative rock, folk rock and jazz rock are the listed genres and it fits into all those within this album. The album initially had poor sales and mixed reviews but over time it gained tremendous critical acclaim and with reissues sold very well. The album was produced by Andy Wallace. The opening song "Mojo Pin" starts slowly with synths, acoustic guitar and Buckley achingly moaning. Drums and electric guitar come in and the song builds. It starts, stops and I got a real jazzy vibe. Buckley vocals go from whispering to howling. It's a song about a black woman's dream and addiction. The first single was "Grace" and is another song that builds. There's toned-down vocals. Strings are added. Buckley says the song was about saying goodbye to a true love. A slide guitar and a melodic bass start "Last Goodbye." More strings are added and Buckley is just showcasing his octave range. It's the best pop song on the album. Speaking of best of's, Buckley's cover of Leonard Cohen's "Hallelujah" is pretty high on my favorite cover song list. Stark electric guitars and emotional vocals. It's one of the few songs where both the music and vocals give each other space. Just outstanding. In 2014, the song was inducted into the Library of Congresses' National Recording Registry for its artistic significance. "Eternal Life" is a total rocker. Buckley's voice fits in perfectly. It would have been interesting to see if he would have experimented down this path but unfortunately that would never happen. The highlight of this album is the tremendous voice of Jeff Buckley - emotional, soft, loud and with a wide octave range. Sure, it's over the top at times but flows with the music perfectly. A lot of these songs build and some are very busy with the instrumentation; I tended to like the ones that were more stark and sparse. Great overall production by Andy Wallace. It's too bad we never got a chance to see what Buckley would do next but at least we have this, which is a very, very good album.

"Penance Soiree" is second full-length album by Los Angles post-harcore band The Icarus Line. Garage rock and noise rock are the listed genres. I'd add in stoner rock and just plain hard rock. The band had recorded most of the album the year before but in-fighting with their record label V2 about lack of support delayed things. The album was one of 2004's most critically acclaimed albums. Swirling noises and guitar sounds open "Up Against the Wall Motherfucker." Drums and a loud bass push things at a grinding pace which speeds up. Joe Cardamore's vocals remind me of Layne Staley and The Cults' Ian Astbury. The one thing this song does do is rock. "On the Lash" adds distortion and feedback to the guitars' sounds. This is fast. These guys aren't messing around. The band grinds through some songs ("Geting Bright at Night" and "White Devil") in the middle part of the album. Very much stoner rock with extended jams and distortion. The last two songs bring the heavy but also more of the melody. "Seasick" slows things up and actually adds an acoustic guitar which gives a decent melody. Just so you know it's them, they end the song with two minutes of feedback. The last song "Party the Baby Off" brings the pop-rock. Melodic, layered and catchy guitar hooks. Enough guitar weirdness to keep it interesting. Maybe the best song on the album. There's no doubt this band can just fuckin' rock when they want to. Distorted layered guitars, bass heavy. The music moving like sludge and then speeding up heading into thrash metal terroritory. They reminded me of a lot of bands including Alice in Chains, the Cult, Monster Magnet, Soundgarden and the Smashing Pumpkins. Overall, I found this to be a pretty decent album. So, if you like any of the bands mentioned above, you'll probably like this.

"Live at Leeds" is the first live album by English rock band the Who. It was recorded at the University of Leeds after the Who recorded and toured for their album "Tommy." It was also their only live album released while the group was actively recording and performing with the line-up of Roger Daltrey (vocals, harmonica), Pete Townsend (guitar, vocals), John Entwistle (bass, vocals) and Keith Moon (drums, vocals). The album is considered one of the best live albums ever. Commercially, it hit #3 in the UK and #4 in the US. The original album has six total songs including three cover songs. They open with a cover of Moe Allison's "Young Man Blues." The first thing you notice is the incredible sound of Townsend's guitar. He slashes riffs. Moon's drums are chaotic as expected. A driving interpretation with a number of starts and stop. "Substitute" sounds petty similar to album version with a clean and very loud sounding guitar in the mix. John Entwistle gets a chance to assist with the vocals on their cover of Blue Cheer and Eddie Cochran's "Summertime Blues." Guitar blasts and solos highlight this version. Roger Daltrey shines on their cover of "Summertime Blues." Moon's drums are non-stop. The version of "My Generation" is a medley with parts of their songs also including "See Me, Feel Me," "Sparks" and ending with "Naked Eye." There's a bass solo and the band never really stops in the 15-plus minute long song. Moon's percussion opens the album closer "Magic Bus." Townsend's guitar is in and out. Daltrey on Harmonica. Maybe, Moon's finest performance. The song ends with a jam and in chaos appropriately. Well, I agree this is one of the best live rock albums that I've heard. Unhinged is a good description of the band but the performance is also loud and both loose and tight at different times. I've heard a few musicians say that Townsend's guitar tone and sound is what every rock guitarist is trying to achieve. Maybe exaggerated but I'll go with it. His guitar sound and Moon's drums are just spectacular. A great album that everyone should listen to. It's also worthwhile listening to the expanded versions of this album as well.

"LP1" is the debut album by English singer-songwriter FKA Twigs. Avant-garde pop, alternative R&B and electronic. All of those work. There were a lot producers used including Arca, Emile Haynie, Sampras, Devonte Hayes, Clams Casino, Cy An, Paul Epworth and FKA Twigs herself. The lyrics deal with sex, sexual relations and intimacy. The album had wide-spread critical acclaim and was nominated for 2014 Mercury Prize. Commercially, it hit #16 in the UK and #30 in the US. "Preface" opens the album with an echoing voice. There's an electronic drumbeat and various synth noises. This music is very robotic and futuristic sounding. The first single "Two Weeks" was produced by FKA Twigs and Emile Haynes. There's chanting and a stark electronic background. FKA is singing delicately and the vocals are layered. The synth melody and vocals build. Very mysterious sounding. She's moving away from a sexless relationship. The second single "Pendulum" continues the layered vocals. Knocking echoing percussion and synth keys. Emoitional and melancholy vocals as she is lonely trying to be a girlfriend. The third and final single "Video Girl" slows things down. There's an interesting electronic beat. FKA is trying to separate herself from the girl in the video (FKA Twigs was actually in a number of music videos). My favorite single might be "Give Up." There's the echoing synths and electronic drums but the melody is just great and the song builds. She's not going to let her lover give up on her. The music on this album is spacey, stark, druggy and futuristic. The songs use synths, an electronic drumbeat and FKA Twigs' vocals. I have to admit; the first time though this music sounded like something you'd hear in a very trending louge or restaurant. Upon repeated albums, the songs became hypnotic and I started noticing all the details and really appreciated the production and instrumentation. This is an easy album to listen to and worth the effort. I find her next full-length album, "Magdalene" even better.

Yikes! The randomizer threw me a curve ball today. "...Baby One More Time" is the debut album by American singer Britney Spears. Britney was looking to expand her career as a teen singer after being in the New Mickey Mouse Club. She traveled to Sweden to collaborate with producers Max Martin and Rami Yacoub who'd been been writing songs with producer Denniz Pop and others for this album. Pop, bubblegum pop, dance-pop and teen pop. Well yeah. The album received mixed reviews but, later, the album was hailed for its impact on pop culture. Commercially, it hit #1 in the US, #2 in the UK and has become one of the best selling albums of all time. The self-title "...Baby One More Time" opens the album. It was a song originally written for TLC. Good for Britney. Electronic beats, loud synth keys and big production. Britney singing in a more R&B style. Funky bass, guitar noises and multiple backing vocals. "(You Drive Me) Crazy" slows things down. A pounding percussion. Very poppy with the backing vocals. "Sometimes" was the second single and one of a few ballads on this album. "Born to Make You Happy" has a big and majestic sound. A piano and dance beat. A song about a desire to repair a relationship. The album closes with a cover of Sonny and Cher's "The Beat Goes On." This is my favorite song on the album. Weird synth noises. A hypnotic beat. Britney singing in an emotionless voice. This somehow really works for me. I have to admit this was not as annoying as I was anticipating. It was actually easy to listen to. Very big production, maybe overkill at times, but keeps things going. Britney's vocals are obviously perfect fine for this type of music. Well, if you feel the need for bubblegum pop, this a good one to pick.

"Unknown Pleasues" is the debut studio album by English rock band Joy Division. Post-punk, gothic rock and new wave. Yes and some defining songs in those genres. The album was recorded in three successive weekends at Stockport's Strawberry Studios. It was produced by Martin Hannett who contributed a number of unconventional recording techniques including digital delays, tape echo and bounce and various random sounds (i.e. glass breaking). The album received wide-spread critical acclaim with many naming it one of the best debut albums of all time. The tom-tom drums and melodic bass open "Disorder." That guitar enters and we're rockin.' Ian Curtis' deep voice is perfect as he sings about: Someone trapped? Epilepsy (Curtis has)? Suicide? The song ramps up to the end. Just brilliant. "New Dawn Fades" is slower with the drums pounding. Peter Hook's descending bass line. Bernard Sumner guitar sound has a Black Sabbath edge to it. It's about a break-up and something bad after that. "She's Lost Control" begins the second side with a banging cowbell or some percussion. An echoing PiL-esque guitar and various noises overlayed. Curtis sounds like he's describing an epileptic seizure. The deep bass and rockin' guitar highlight "Shadowplay." Alienation and helplessness. This is very goth. The album closes with "I Remember Nothing." It's stark. There's bottles breaking. A crawling, eerie guitar and bass. Now, we're very post-punk. It appropriately ends with a swirling noise and something falling. This is dark and atmospheric. Ian Curtis' deep voice is commanding as he describes hopelessness, epileptic seizures, break-ups, suicide and giving up. The production is great with the weird noises adding to the atmosphere. The guitar, bass and drums are all crucial and heard clearly. An iconic album vover. As mentioned earlier, defining songs in goth and post-punk. This is a fantastic album and still sounds great today.

Untitled is the fourth studio album by English rock band Led Zeppelin. The negative reaction to "Led Zeppelin III" led the band to leave this album untitled. It does feature four symbols, one for each band member and is commonly referred to as "Led Zeppelin IV." The majority of the album was recorded in country house Headley Grave which provided an environment that inspired them to try different arrangements of material and create in various styles. Guitarist Jimmy Page produced and mixed the album. It was a critical and commercial success hitting #1 in the UK, #2 in the US and becoming their biggest selling album. An echoing guitar, Robert Plant yelling "Hey, Hey Mama...." and we're off with "Black Dog." A heavy guitar, drummer John Bonham hitting lots of cymbals and the start/stop flow of the song. It was named after a dog that hung around Headley Grave. "Rock and Roll" explodes right way with aggressive drums and guitar. The song was created in early jam sessions during the album recording and that's exactly what it sounds like. Throttled vocals by Robert Plant and Ian Stewart on piano. Page on acoustic guitar and John Paul Jones on the recorder begin the classic "Stairway to Heaven." This song was played so much on the radio in the 70's and 80's that I admit, I was sick of it. Thank God things for me i dont hear this as much nowadays cause this is really a fantastic song. The first half of soft rock which explodes to hard rock. When Bonham kicks the drums in...Yeah! It's about a woman who took everything without giving anything back. "Going to California" has, I believe, Robert Plant's best lyrics on the album. An acoustic number which describes a California earthquake and is about trying to find the perfect woman. It was inspired by Joni Mitchell. Who's up for a song with lead drums? I am and that's exactly what we get with the bluesy cover of Memphis Mine's "When the Levee Breaks." Bonham's legendary drum intro and continued thunder pound throughout the song. Plant's harmonica (I thinks it's him) gives it that swampy bluesy vibe. The grind of this song is heavy and deep. Well, what can you say here? It is one of the greatest hard rock albums of all time and still hits hard. I like what a critic said describing the album in that each song does not step on the next song. The songs glow throughout the album. Page's guitar, Bonham's drums and Plant's vocals have to be among the best of their career. The lyrics especially with the medieval references may not be at the brilliant level but who cares. A classic in every which way.

"Brian Wilson Presents Smile" is the fifth studio album by American musician Brian Wilson. This album contains all new recordings of music he had originally created for an unfinished and abandoned Beach Boys' album in 1967. Brian worked with keyboardist Darian Sahanaja and lyricist Van Dyke Parks in assembling a three movement album structure. The process of making the album was an emotional undertaking for Brian as he was deeply traumatized by circumstances during the original project. The album had universal acclaim and did well, commercially hitting #7 in the UK and #13 in the US. Movement One and the album start out with "Our Prayer/Gee." It's a two part song with different harmonies in each part. Fairly minimal with only a piano. The songs rolls right into "Heroes and Villians." This sounds like the 60's Beach Boys (sort of). Multiple harmonies. There's a piano and later on a horn, harmonica and strings. This song changes direction and, I guess, complex and busy are good descriptors. I can see why he could never quite get it right back in 1967. Supposedly, it's an Old West story. "Cabin Essence" is an interesting song as it switches back and forth between a waltz and a more pyschedelic rock song. Multiple harmonies, of course. It's a freeze frame of a Union Pacific Railroad trip. All four songs in Movement Two are fairly similar and they flow into and out of each other. "Song for Children" is an uplifting song that brings in the glockenspiel, tuba and flute. This movement ends with "Surf's Up." There's strings and similar to the version on the Beach Boys' 1971 album of the same name. I'd say the version on this album has more harmonies and is not as stark as the 1971 version. Movement Three brings the variety. There's songs about vegetables, holidays and wind Chimes. He gets pyschedelic in "Mrs. O'Leary's Cow." The album closes with a good version of "Good Vibrations." This album is dreamy, psychedelic, complex, busy and,at times, brilliant. The songs blend into each other and sometimes it's hard to tell the difference between songs. In a lot songs, styles change within the song. Yes, the harmonies dominate. There's very good production with lots of detail. I don't know if this an album for everyone but if you're a fan of "Pet Sounds" and 'Surf's Up," you're sure to like at least some of this.

"Underwater Moonlight" is the second studio album by English rock band the Soft Boys. A number of genres describing their music include neo-pyschdelia, post-punk, new wave, pyschedelic pop, jangle pop and power pop. Yes, they kind of fit into all of them but it's also tells me their music is pretty unique which it is. The album was initially unsuccessful but is now considered a pyschedelic classic, influential in the development of neo-psychedelia. The bandmembers included Robyn Hitchcock (vocals, guitar), Kimberly Rew (guitar, vocals, synth and later formed Katrina and the Waves), Matthew Seligman (bass) and Morris Windsor (drums). "I Wanna Destroy You" blasts out with the guitars forward and the rhythm section rockin.' This is power pop and sounds like a cross between Cheap Trick and early Pyschedeic Furs. Harmonized vocals with lyrics ranting against neo-fascists and neo-nazis. This is a great song. They slow things down to a grungy-bluesy vibe in "I Got the Hots." Hitchcock is talking. This reminds me a lot of Frank Zappa's "I am the Slime." Pyschedelic and funny lyrics. "I got the hots for you said the dentures to the peach." Echoing vocals and a creeping guitar and bass open "Tonight." The song then explodes into power pop. A nice vocal chorus and song overall too. We finally get that jangly guitar I'd been reading about in "Queen of Eyes." Melodic guitar chords. R.E.M. was listening. " Underwater Moonlight" closes the album. An anxious guitar and beat which goes to power pop. More jangly guitar. The album closes with a rocker. I have no idea what this is about. An older couple goes under water then gets set free. This album is pyschedelic, power pop and melodic. There's weird lyrics as you would expect from Robyn Hitchcock. I was reminded of Pink Floyd (Syd Barret era), Cheap Trick and Feank Zappa. Most of the songs are very catchy. This is a really good album. A high recommendation for everyone.

"Hunting High and Low" is the debut studio album by Nowegian synth-pop band A-ha. The album was a huge commercial success mainly generated from the video release and popularity of the song "Take On Me." The album was produced by Tony Mansfield, John Ratcliff and Alan Tarney and recorded at Eel Pie in Twickenham, London. A-ha is Morten Harket (vocals), Magne Furuholmen (keyboards, bass programming, backing vocals) and Paul Waaktaar-Savoy (guitars, drum programming, backing vocals). Commercially, the album hit #15 in the US and #2 in the UK. Their big one "Take on Me" kicks off the album. An electronic beat, synth and bass leads to that catchy and bouncey synth melody. Harket's vocals are great, even his falsetto. He likes a girl but is unsure how to get her. Yes, this is so 80's and, no, that was not me singing in my office. The fourth single "Train of Thought" is synth heavy with a very 80's dance beat. Harket's vocals initially are very deep and a dead ringer for Peter Murphy. He's just showing off his octave range. It's about the dehumanizing effect of modern life. The sel-titled "Hunting High and Low" has an acoustic guitar and is a ballad of sorts. There's initially a bossa nova beat. He's searching for that lost girl. Strings are added; this song ends very dramatically. I have to be honest "The Sun Always Shines on T.V." was the only other song I remembered from this album. Deep piano keys and a dreamy synth background. The song changes to a more rockin" song then goes back. This is a good song. "Love is Reason" has synth horns and an urgent electronic drum beat. He'll do anything for her. There is no doubt this is slick, high level 80's synth-pop. It is well produced and performed. It is of its time but I was kept quite interested and there are a couple great 80's songs. I not would put this album at the Human League, OMD or Pet Shop Boys level but this is solid synth-pop and if you like that, you'll like this.

"Mellon Collie and the Infinite Sadness" is the third studio and first double album by American rock band the Smashing Pumpkins. The album was produced by vocalist and guitarist Billy Corgan, Flood and Alan Mouder and contains a wide array of musical styles - art rock, grunge, alternative pop and heavy metal. It was lauded by critics for its ambition and scope. The album contains two disc sides, Dawn to Dusk (day) and Twilight to Starlight (night) which work together conceptually. Billy Corgan has stated the lyrics sum up all things he felt as a youth. The album debuted at #1 on the US charts and hit #4 in the UK. The opening song and self-titled "Mellon Collie and the Infinite Sadness'" is an instrumental with piano keys and a cello. This leads directly into "Tonight, Tonight." A big open with a live orchestra and drums. The song has a start-stop quality with the acoustic guitar and strings. A song about encouraging to be yourself and live for the moment. I sometimes feel that songs #3 through #6 is one of the best moments on any album. Four onsecutive rockers. "Jellybelly" has a heavy metal start and the band kicks kicks i, killing it. "Zero" was a single with a grungy guitar open and is a dark song. Depression, drugs and being a fool seem to be the topics. My favorite song in this song string is "Here Is No Why." Catchy rhythm guitar melody. Guitar slashes. Overlayed guitar. Corgan screaming as he looks back at his 18-year old self. Speaking of screaming, the first exposure we all got of this album was "Bullet with Butterfly Wings." Pulsing guitar and drums and then the band explodes. We get that soft-loud-soft dynamic. He's stuck in this world which is a sucking vampire. Great song title name by the way. Guitar strums, drum rolls and the band rips into it to open "Muzzle." This is a straight-forward rocker and a song he wrote about his wife, soon to be ex, admitting his own faults but it's too late. The epic "Porcelina of the Vast Oceans" begins with a long silence and slow guitar keys. The band comes in and there's a soft-loud-soft dynamic. A dream love song about Porcelina. The second half (Twighlight to Starlight) kind of alternates between soft and harder-edge songs. One of the best harder-edge songs and my favorite song on the album is "Bodies." A needle scratching a record changes to the band in full throttle aggressive mode. No messing around with any dynamics here. Corgan's voice screaming and straining. It's about the after-effects after someone breaks up with you. The band goes softer with a piano and guitar strumming in "Thirty-Three." This is a hopeful song. Who said this band couldn't create a top-forty pop song? "1979" is just that. A drum machine. Vocal and instrument loops and samples. This is a solid pop song as Billy sings about making the most of the day. The album closes with a bittersweet song about death in "Farewell and Goidnight." A piano very similar to the opening song. All four members (Billy, James Iha, D'arcy and Jimmy Chamberlain) contribute vocals. This is a big and sprawling album. There's a lot of songs with melodic hooks, hard and soft songs and straight-forward rockers. I suppose they could have made one heck of a hard rock album limiting it to like 12 songs. But, it is what it is and it is a great album. This listening time I really tried to focus on the lyrics and Corgan covers a lot - love, anger, depression, dreaming, resentment, regret, pain and more I'm sure. This album has aged really well and sounded great again today. I would think there's something here for everyone to enjoy.

"The Rolling Stones" is the debut studio album by English rock band the Rolling Stones. "The Rolling Stones" was released in the UK by Decca Records and "England's Newest Hit Makers" was released in US by London Records and has slightly different track listing including their cover of Buddy Holly's "Not Fade Away." The album was recorded at Recent Sound in London and was produced by then-managers Eric Easton and Andrew Loog Oldham. The album is mostly cover songs and reflects the Stones' love for R&B songs. Commercially, it hit #1 in the UK and #11 in the US. The album begins with a cover of songwriter Bobby Troup's "Route 66." This is a more bluesy version. It has a groove. Nice rhythm and lead guitars. They slow it down on Jimmy Reed's "Honest I Do." Nice guitar chords again. A prominent bass and we get a Mick Jagger harmonica jam. "Little By Little" is a song written by Nanker Phelge and Phil Spector. Who is Nanker Phelge you ask? That was a moniker for the Rolling Stones. A bluesy beat and a piano. Jagger on Harmonica and a great guitar solo by Keith Richards. Phil Spector was given co-credit due its similarity to the song "Shame, Shame, Shame." The band comes out a rockin' on their cover of Chuck Berry's "Carol." A searing guitar open. This seems pretty true to the original. The only attributed song to the Jagger/Richards team is "Tell Me (You're Coming Back)" and it's my favorite song on the album. It's a ballad with Brian Jones on electric guitar and Richards on a 12-string acoustic guitar. Jagger is on tambourine and we get the classic Richards' backing vocals. The Stones give a bluesy interpretation on most of these covers. And, these covers include various blues and pop songs. The one thing that stands out is that this is a very tight band. There are signs of the future Stones with the Jagger sneer on "I'm a King Bee," Richards and Jones' guitar solos and playing and that down-and-dirty sound. This is a good time capsule of the start to one of the biggest rock bands.

"Dark Side of the Moon" is the eighth album by English rock band Pink Floyd. Before the recording started, the band conceived a concept album focusing on pressures faced by their arduous lifestyle and the mental health problems of former band member Syd Barrett. The album engineer was Alan Parsons who along with the band were responsible for the sonic aspects including multitrack recording, tape loops and analogue synthesizers. The album had wide-spread critical acclaim for its lyrics, production and engineering and, in 2012, was inducted by the Library of Congress into the National Recording Registry for its artistic significance. Commercially, the album hit #1 in the US and #2 in the UK and was the biggest selling album of the 70's. The album opens with a long silence in "Speak to Me" which eventually goes into various noises (people laughing, screams) and without a break goes into the next song. "Breathe (in the Air)" is a dreamy, slower song. The guitar stretching. It's about the importance of one's life and the threat of madness. The beating of the instrumental "On the Run" leads into "Time." The multiple clock noises and that guitar noise (I think) that always reminds of a kung fu movie. Great vocals by David Gilmore and Richard Wright and great backing vocals by a host of female singers (that's true throughout the album). The passage of time can control one's life. Speaking of great female singers, Clare Torry gives emotional wordless outbursts throughout the song "The Great Gig in the Sky." Mostly backed by Wight's organ and piano, the song dramatically builds towards the end. The coin/tearing paper/cash register noise loop and bass open the first single " Money." Dick Parry's sax and David Gilmore's guitar solos highlight the song. The song mocks greed and consumerism. "Us and Them" uses word dichotomies in its three verses to describe the senseless nature of war, racism and aspects of society. Another great Parry sax solo. The album closes with Roger Waters on lead vocals in "Brain Damage" and "Eclipse." "Brain Damage" is an obvious song about mental illness from fame and Syd Barrett. Nice guitar chords. "Eclipse" offers the hope of a bright side or sun but there's always the dark or moon side working against it. Listening to this album today, I noticed all the sound effects, random noises and layered production. This added a lot to the atmosphere. I found this album more laid back and chill especially the first side with the instrumentals intermixed. A few highlights for me include the lyrics, Parry's sax solos and the female backing vocals. They successfully achieved all their themes they were aiming for. The musicianship and vocals are top-notched. I'm sure everyone has an opinion of this album and for me this sounded every bit the classic album I remembered it to be.

"Maxwell's Urban Hang Suite" is the debut album by American R&B singer-singwriter Maxwell. The music is mellow and groove-based with elements of jazz, funk, smooth soul and quiet storm. This album along with D'Angelo "Brown Sugar" and Erykah Badu's "Baduizm" helped shape the "neo soul" movement of the late 90's. Maxwell largely wrote and produced the album himself with Peter Mokran and Stuart Matthewman assisting in the production. It is a concept album with a romance cycle as the theme. The album was critically acclaimed as a departure from the mainstream, hip hop-oriented R&B. Commercially, it hit #37 in the US and #38 in the UK. Vinyl noise and a wah-wah guitar open "The Urban Theme." A jazzy and groovy instrumental which leads into "Welcome." This is funky, smooth and chill. Maxwell has a nice tenor and is crooning. He meets his woman in a chance encounter. "Sumthin' Sumthin'" ups the funk with a tight groove and prominent bass. He's showing her his affection. "Ascension (Don't Ever Wonder)" continues the chill funk mix and throws in a gospel vibe. He adds a falsetto into the mix. "...Til the Cops Comes Knockin'" slows things down. This very soulful reminding me of Smokey Robinson. Maxwell is gettin' down to business as he is going to lock his woman up and they'll.....til the cops come. "Suitelady (the Proposal Jam)" wraps the cycle up as he purposes to his lady. It's a gentle, soulful ballad. Wah-wah guitars and very 70's sounding. This is album is chill, funky, groovy, easy listening and romantic. Maxwell has a nice tenor voice. The music does remind of Marvin Gaye, Earth, Wind & Fire and the Commodores. This a really good album which I think mostly everyone would like to some extent.

"Apple Venus Volume 1" is the 13th studio album by English rock band XTC. The band used more strings, acoustic guitars and keyboards expanding on their orchestral approach uesd on their last album, 1992's "Nonsuch." Lead singer and guitarist Andy Partridge coined the music "Orchustric." It took seven years between album releases due to personal conflicts, lack of money, false starts and a strike against their former label Virgin Records. They recorded enough songs for a double album but decided to have two volumes/albums with volume 1 being more acoustic and baroque and volume 2 more rockin.' The album did receive critical acclaim and had moderate commercial success reaching #42 in the UK and #106 on the US. Water dripping and strings open "River of Orchids." This sort of has a prancing feel to it with a cello. Partridge vocals come in and a layered chorus as well. There's a lot going on. It's eccentric. They switch over to an acoustic guitar in "I'd Like That." This song rolls along. Patridge is apparently rekindling a relationship. And, they go back to strings in their single "Easter Theatre." More vocal harmonies, really going Beach Boys on us. We get an electric guitar solo. It's a celebration of spring and a pretty good song. "Greenman" starts out with strings and a Middle Eastern vibe. There's a flute; this is really lush. Patridge said this song was about the masculine side of Mother Nature. Hmmmm. The album ends with "The Last Balloon." Strings, acoustic guitar and a flugelorn. It's jazzy and melancholic/bittersweet. I like the lyrics but I'm not sure if it's a song of hope or hopelessness for mankind. Maybe both. The album bounces between strings and acoustic guitar songs. There's songs about Mother Nature, middle age symbolism, relationships, season cycles and the harvest. The vocal harmonization and the lyrics are solid. They cover the emotional spectrum being happy, sad, hopeful and spiteful. This is a decent album. The more rockin' volume 2 is also pretty good. I'd have to say that I like some of their 80's albums more ("Skylarking", "Black Sea") but this is solid; I'd imagine most XTC fans would like this.

I needed this today. "Vincebus Eruptum" is the debut album by American rock band Blue Cheer. Hard rock, pyschedelic rock, acid rock and heavy metal are the assigned genres and they all fit but this album is known as and considered one of the first heavy metal albums. The band was a trio consisting of Dickie Pearson (vocals, bass), Leigh Stephens (guitar) and Paul Whaley (drums). The album did well commercially hitting #11 in the US and was well received by the critics. The album opens with a cover of Eddie Cochran's " Summertime Blues." This is fast and heavy. Rolling drums and bass. The guitar explodes and goes in all directions. The song gets faster. This is chaotic, messy and wonderful. Lead singer Pearson mentioned the result had something to with large amounts of LSD. They do another cover in B.B. King's "Rock Me Baby." It's slower, more bluesy. Two large extended guitar solos by Leigh Stephens. There are four words to describe "Doctor Please:" lo-fi, fuzzy, hazy and heavy. Another chaotic monster guitar jam. It's a song about whether Person should take drugs; no need to think about what direction he took. In "Out of Focus," you really start to see the influence of Jimi Hendrix in Stephens' guitar sound. The song has got a groove and is funky. There's also some high level screaming by Pearson. Pounding drums, a thumping bass and driving guitar begin the closer "Second Time Around." Stephens guitar is oscillating between melodic and random, extended solos. Whaley gives a "Moby Dick-esque" drum solo. There's a long silence which goes into guitar solo and the song ends in two-minutes of total chaos. Amen my friends. This album is just fantastic. The band sounds like a punk-i-fied, more reckless version of Led Zeppelin. The music is energetic, fuzzy, garage, lo-fi, heavy, chaotic and totally rockin.' At times the band goes off in random directions and I don't even know if they know where they're going, what the other musicians are doing or if they even care. Leigh Stephens' guitar playing is just plain awesome taking off in each song...very unique. This is an album that every person that likes hard rock needs to listen to.

"Kind of Blue" is a studio album by American jazz trumpter and composer Miles Davis. The music of this album was a departure from his earlier hard bop as he experimented with musical modes where he gave each performer a set of scales that encompassed the parameters of their improvisation and style. One day I hope to completely understand that but I was able to follow...somewhat. The sextet on this album included Davis (trumpet), John Coltrane (tenor sax), Julian "Cannonball Adderly (alto sax), Bill Evans/Winton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums). Woah, quite the band. This album is considered Davis' masterpiece and one of the best albums of all time. It did well commercially htting #3 in the US. And, in 2002, it was inducted by the Library of Congress into the National Recording Registry for its artistc significance. A melancholy-sounding Bill Evans' piano begins "So What." No, this is not a Ministry song. The other instruments come one at a time following similar notes. The horns take turns on solos and then back to the piano. There is a back and forth between the instruments. "Freddie Freeloader" has the horns upfront with the drum beat. Wynton Kelly is on the piano. The horns take turns with their improvisation solos. Bill Evans was credited with co-writing "Blue in Green" and the piano is prominent in this song. It's a ballad being both melancholic and subtle. "All Blues" has shifting drums and repeating bassline. A trebly piano. The horns play in unison and there's a piano solo. "Flamenco Sketches" is another ballad. This is soft sounding. Some fantastic sax solos in this one. This album is smooth and relaxing. There is a lot of excellent horn and piano solos. At times, you clearly hear them play off each other. No part of this album is "busy." I am by no means a jazz expert but the music is both complex with all the virtuosos and simple in that music is given space; there's no one playing over anyone else. This is obviously a great album that everyone needs to hear.

"Bossanova" is the third studio album by American alternative rock band the Pixies. One critic describes it as combining the harsh rock of "Surfer Rosa" with the melodies of "Doolittle." I totally agree with that description. The album was well received critically and commercially hit #70 in the US and #3 in the UK. The album comes out loud and fast with the instrumental "Cecilia Ann." Heavy bass and drums. A darker edged guitar. One of the Zodiac killer's names was Cecilia Ann. Any connection? The first single "Velouria" brings that melodic Pixies' guitar...a great chorus riff. Kim Deal's backing vocals are also great. Velouria is a woman from the mythological people the Rosicrucians of Northern California and she has velvety skin. The second single "Dig for Fire" opens with bells and an acoustic guitar strumming. Layered guitars come in with thumping drums. An urgent guitar riff. Tremendous vocals by Kim Deal and Black Francis. The people are searching for something more in life. A great song and in my top three Pixies. A piercing and eerie guitar carry "The Happening." Why not write a song about Area 51 and aliens landing in Las Vegas? I was just thinking about something similar last night. Maybe, it was a movie I recently saw. The album closer "Havalina" is softer and more laid back. Acoustic strumming guitar. Co-lead vocals as they describe walking in the plains of Sedona, Arizona. A spiritual and chill ending to the album. This album opens hard and fast with the first two songs and swings back and forth between melodic pop/rock and a harder edge. As per the Pixies' style, there's no time to dwell on one style with songs two to three minutes long. This is a very good album. When it came out and until now, I kind of put this as the weakest of their first four albums. I might need to assess. The bottom line is that they're all good with this one included.

"Kid A" is the fourth studio album by English rock band Radiohead. Lead singer and songwriter Thom Yorke wanted a departure from rock music due to the stressful experiences from their previous album "OK Computer." For this album, the band drew influences from electronic music, ambient music, krautrock, jazz and 20th-century classical music. Different instruments were used including modular synthesizers, ondes Martenot, brass and strings. They also incorporated samples and loops. Commercially, the album hit #1 in the UK and US and was their breakthrough album in the US. Initially, the album had mixed reviews but is now considered one of the best albums of the 2000's. "Everything in its Right Place" was the one of the first songs Yorke ever wrote. Ambient synthesizer keys. The vocals were processed in Pro Tool. The lyrics describe Yorke's depression and stress promoting "OK Computer." Deep repetitive bass notes, weird outer space noises and drums begin "The National Anthem." For this song, the vocals are processed through a ring modular. The organized brass section chaos was inspired by Charles Mingus' "Town Hall Concert." The music does a great job creating the songs' intent of describing people trapped in a traffic jam. I remember listening over and over on my headphones to "How to Completely Disappear." It's start out an acoustic ballad with a guitar. Yorke singing "I'm not here, this isn't happening" which was a quote R.E.M.'s Michale Stipe said to repeat when dealing with fame and stress. The song bounces from paranoid electronica to the lush orchestral strings. It's my favorite song on the album. Although the album did not have any released singles, "Optimistic" has been the most played song on the radio, at least in my neck of the woods. It has an ominous opening but is pretty much the most straight-forward rock song on the album with bass, drums and guitar. It's about dealing with the pressures of fame. A hypnotic drumbeat created by synthesizer modules pervades "Idioteque." Samples of 70's computer music compositions from Paul Lensky and Arthur Krieger are also incorporated. I think is describing a post-apocalyptic doom and the current society. And, another album highlight. I have to admit it took me some time and more than a few listens to really get into and like "Kid A." Now, I am definitely team "Kid A" and do think it is one of the best albums of 2000's. It's ambient and atmospheric. To me, the lyrics can be both abstract and direct. Each songs seems to be of itself with different instruments, vocal distortion and all of the noise effects. Yet, the album connects and flows together. This is an album that everyone needs to hear but I do know there is and will be a wide range of opinions.

"Tusk" is the 12th studio album by British-American rock band Fleetwood Mac and a double album at that. It was purposely a more experimental album than their previous album "Rumours" with more sparse songwriting arrangements and influenced by the post-punk movement. It cost $1.4 million making it the most expensive rock album recorded to date. Based on the success of "Rumours," it was a disappointment to their record label although it did hit #1 in the UK and #4 in the US. It was well received critically. The album begins with Christine McVie's "Over & Over." Piano, drums and a slide guitar giving this a country vibe. It's a nice soft song describing a relationship where the woman loves her man but he does not love her. Acoustic guitar, piano, the drums and bass kick in and we're off with the lovely "Sara." Stevie Nicks wrote this song on the piano with the original version clocking in at 16 minutes. She gives one of her best and haunting vocal deliveries as she describes her relationship with her friend who was having a relationship with her ex, Mick Fleetwood. "Not That Funny" was the third single in which Lindsey Buckingham supposedly sang while in a push-up position. It's a bouncey song with the piano and percussion. A nice Buckingham guitar solo. Nick's "Sisters of the Moon" is a great hidden track. A harder-edged guitar layered with an acoustic guitar. Nicks and Buckingham are great on the vocals. A searing guitar solo. It's about Nicks' deteriorating health on the "Rumours'" tour. "That's Enough for Me" goes hard and fast with Buckingham playing all the instruments. He described it as rockabilly on acid. A song about his relationship with Nicks and one of the more unique Fleetwood Mac's songs I've heard. "Tusk" was the first single released and brings in the University of Southern California marching band. The song starts with a percussion thump and outdoor noises. Nice building as the whispering vocals comes in with the bass, electric guitar and the brass section of the USC band. Chaotic drums end a very different Fleetwood Mac song. Well, the band was successful in creating a record different than "Rumours." I like the variety of of weird and harder-edge songs. The songs span the spectrum being subdued, distant, haunting, bouncey, slow, fast and hard. One criticism of this album is that sounds like three separate solo albums. I agree with that to some extent. Buckingham especially created unique songs relative to "Rumours" and I find these to be the best of the album. I like this album quite a bit with a lot of very good songs that didn't get overplayed on the radio. An album worth going back to and/or checking out.

"Peter Gabriel" also known as "Car" is the debut studio album by English singer-songwriter and producer Peter Gabriel. Two years after his departure from Genesis, he recorded his first solo album employing Bob Ezrin as producer with a host of musicians including guitarist Robert Fripp and bassist Tony Levin. Commercially, the album did fairly well hitting #7 in the UK and #38 in the US. Critically, it had positive reviews. The album begins uniquely (no surprise) with "Moribund the Burgmeister." A percussion chant and wavering synths. It's fairly big production and his most prog rock song on the album. Gabriel uses several voices as he tells the medieval story of the Burgemeister dealing with a plague outbreak. Steve Hunter is on acoustic guitar for Gabriel's most-well known song (at least to me) "Solsbury Hill." Synths in the background with all sorts of interesting percussion. Based on a spiritual experience, he stresses being prepared to lose what you have for what you might get. "Modern Love" is the most straight-forward rocker on the album. Great bass. It's about sexual frustration. A big baroque opening to "Down the Dolce Vita" goes to a disco rock beat. He does not play it straight as there's a clock-ticking part and ends with the flute....finally. The lyrics describe men going to fight a war or sea monster. He still can't yet shake his "Lamb Lies Down on Broadway" tendencies can he? The epic "Here Comes the Flood" closes the album. The song starts slowly with keyboards, acoustic guitar, piano and recorder(?) and explodes emotionally with Gabriel's vocals. It's the mental flood of collective thoughts made public through telepathy. Screw a simple love song. Gabriel later would perform this in a much more toned-down arrangement. Undoubtedly, it's one of his best songs. A critic said it best when he called this a "smorgasboard of songs." Heck, there's three right out of the gate. The styles heard include prog rock, 70's hard rock ballads, acoustic folk, baroque and rock disco and bossa nova beats. There are a few songs that don't work ("Excuse Me") but it also contains some of his best work. I don't think it's his best, but I do like it quite a bit and it sounded great today.

"The Who Sell Out" is the third studio album by English rock band the Who. It is a concept album with unrelated songs interspersed with fake commercials and public service announcements. It also purports to be broadcast by pirate station Radio London. This, of course, resulted in lawsuits. Commercially, it hit #13 in the UK and #48 in the US. The album did receive positive reviews. The album opens with a guy's saying days of the week which goes into "Armenia City in the Sky." Written by Thunderclap Newman's Speedy Keen, this is a very psychedelic song with Townsend's guitar and effects including overdubs of backwards guitars, horns and feedback. The music does a good job describing its intent of an acid trip. Acoustic guitar and Latin percussion carry the very 60's-sounding "Mary Anne with the Shaking Hand." Layered vocals describe a string of girls and their downsides including Mary Amne with her shaking hand. But, her shaky hand was good for something. Townsend said later he regretted the lyrics to this song. Guitar strikes, drum rolls and we're off with one of their big ones in "I Can See for Miles." This song builds with the guitar, drums and vocal chorus and slows back down. Drummer Keith Moon absolutely shines in one of his best performances. Don't try to deceive him, he can see for miles. Townsend gives us some jangly- edgy guitar in "Relax" and a great pyschedelic jam. There's also what sounds like an organ in a very melodic song. Co-lead vocals by Roger Daltrey and Townsend. A big start with a vocal chorus in the closer "Rael." A prancing-sounding song with the drums and bass which changes to more pyschedelic with an organ and guitar and finally ends with an acoustic guitar section. Townsend foreshadows where he would go in the future somewhat with a story about Crusader knights fighting the Saracens in the Holy War. They are betrayed by Venetians leaving them both to their fate. This is the first time I've listen to this album; It is a very good album. The "satirical" inclusions of commercials between the songs were short, sort of funny and didn't distract from the quality of thr songs. The songs do cover several styles with pyschedelia, 60's pop songs, ballads, Beach Boys' harmonization and a marching band section in a song. The vocals sound great (lead, chorus, harmonies); I don't know if Daltrey or Townsend ever sounded better. There's short, tuneful, deeper-cut songs ("Tattoo," "Ororono") not regularly heard on the radio. The albums' mix and production is at a high level with all instruments heard clearly. A high recommendation for everyone.

"Better Living Through Chemistry" is the debut studio album by English electronic music producer Fatboy Slim. The listed genre is big beat. That sounds about right....lots of samples too. The album title is a play on the advertising slogan of Du Pont "Better Things for Better Living...Through Chemistry." The album had generally positive reviews and, commercially, hit #69 in the UK. Whirling, space synths sounds open "Song for Lindy." The beats start with a sample of Steve Winwood's "I'm a Man." The melody comes in - a piano sample of Jimi Polo's "Better Days." The third single released "Going Out of My Head" samples extensively the Who's "I Can't Explain" both the beat and melody. Traffic noises begin the song. There's always some different noise intros to these songs. He also throws in samples of Zeppelin's "The Crunge." The first single released "Everbody Needs a 303" actually hit the US charts...well, at #193. This one has a deep bass groove and beat. I like this. A Edwin Starr sample. In "Punk to Funk," he lays down a hard and repetitive drum and bass beat. A robotic "Punk to Funk" vocal repeats. Various noise samples throughout. This album was alright. The songs made me work too hard to figure out what and where the samples he was using were coming from. The use was fairly creative in that, besides everything being big beat, he took the songs into ambient, chill, bluesy and club areas. I didn't find the samples "Paul's Boutique" creative though and, if you want, the downtempo, which he sometimes goes to, check out DJ Shadow. But, if you want the club beat circa 1996, this is all you. His next album "You've Come a Long Way, Baby" is much better.

"Yoshimi Battles the Pink Robots" is the tenth studio album by American rock band the Flaming Lips. The music takes the band in a more electronic direction from their previous album "The Soft Bulletin," incorporating acoustic guitar and rhythms influenced by hip hop and top 40 music. The album's title is based on Japanese musician Yoshimi P-We and her style of singing.. Although lead singer Wayne Coyne said this is not a concept album, he did say that there's is an overriding theme of a girl (Yoshimi) battling breast cancer (the pink robots). The album has done relatively well commercially, hitting #50 in the US and #13 in the UK. It was very well received critically. An ominous synth, people cheering and a guy echoing "now" open the album and the song "Fight Test." A synth melody with an acoustic guitar. A great vocal and catchy chorus: "Its all a mystery." The protagonist didn't fight for his girl and now it's too late. "Yoshimi Battles the Pink Robots, Pt. 1" gets to the heart of the album story . Acoustic guitar with synths again. A hip hop beat of sorts. The music and lyrics are both happy and sad. Weird synth noises as Yoshimi battles those evil robots (cancer). "Yoshimi don't let those evil robots eat me." The song is deep once you know the meaning. "Ego Tripping at the Gates of Hell" has a bass beat and is dreamy. You have to like (or not) the Lips' creativity in song names. A message of not focusing on one thing; life is full of both big and small things and appreciate them both. Bells, an acoustic guitar and what sounds like electronic congas begin "Do You Realize?" It's actually bass driven for most of the song. An angel-like chorus. An optimistic song about simply enjoying your life and the world. Brilliant lyrics. I don't know if the Flaming Lips have a better song. The album ends with the instrumental "Approaching Pavonis Mons by Balloon (Utopia Planitia)." A hip hop beat with both acoustic and electric guitars. Synth horns are added to the best instrumental song on the album. This is a beautiful album, both musically sounding and lyrically. The melodies and choruses are catchy and strong. The beats, synths and acoustic guitar work incredibly well together. Coyne takes a difficult subject (cancer) and creates an incredibly dreamy, uplifting and hopeful album. The instrumental songs are just as good as those with lyrics. This album sounded incredible, much better than I remember it. An album everyone needs to hear.

"Pictures at an Exhibition" is a live album by English progressive rock band Emerson, Lake and Palmer. The album is an adaptation of the classical piano suite "Pictures of an Exhibition" by Russian composer Modest Mussorgsky performed at the Newcastle City Hall. The band is composed of Keith Emerson (organs and synths), Greg Lake (guitar, bass, vocals) and Carl Palmer (drums, percussion). Commercially, it hit #3 in the UK and #10 in the US. The album was reviewed favorably in the UK while the US critics were harsh citing prog overload. The album opens with "Promenade" and Emerson on the pipe organ. Jeez, I feel like I'm at church. Drums rolls end the song which then goes into "The Gnome." A start/stop pace with a deep bass. Very dramatic and very prog. The band creates a blues, prog fusion in "The Old Castle and "Blues Variation." These songs woke me up. Definitely prog overload here but I didn't mind it too much. The second side features three songs with Baba Yaga in the title and they are all pretty much prog jams with the drums, bass, organs and synths all flying at a pretty fast pace. No doubt, impressive musicianship here. The album ends with "Nut Rocker." I'm assuming this is based on Tchaikovsky's "Nut Cracker." Hey, the band is playful and seems like they're having fun. A Christmas-esque song on speed and one of the better songs on the album. I didn't know what to expect when this album popped up as next. I'm still not not sure what I heard. The only classical areas I heard were when Emerson was solo on the organ. Otherwise, this was a prog music exercise class. Some parts reminded my of Rush's "2112." Overall, I'm kind of neutral on this album since I'm pretty neutral on prog rock itself. But, if you're a prog rock fan, this is for you.

"Oxygène" is the third studio album by French electronic musician and composer Jean-Michel Jarre. He recorded the album in his Paris apartment using a variety of analog and digital synthesizers and other electronic instruments and effects. The listed genres, which are appropriate, include electronic, ambient, synth-pop, space music, new age and electropop. The album titled, "Oxygène," was named after a water-colored painting of the same name by Michael Granger. The painting was used with a modified background as the album cover and depicts Jarre's theme of damage being done to the planet. Commercially, it was a breakthrough, reaching #1 on the French charts, #4 in the UK, #78 in the US and, in 2016, had sold an estimated 18 million copies worldwide. Initially, the album actually received negative reviews especially in the UK but, in retrospective, is considered a major work in the development of electronic music. The album is divided into six parts. "Oxygène (Part I)" begins with layered echoing and spiraling synth noises which is followed by what sounds like a female opera singer with synth pings in the background. It then changes to darker and deeper synth keys layered with lighter ones. The layering and synth key changes seems to be Jarre's song recipe throughout the album. The second single "Oxygène (Part II)" adds lasers and a beating noise to the repetitive synth keys. Loud synth keys strike up the melody which changes to a slight lower octave. Synth wave sounds, sonar echoing and a fast beat begin the first single "Oxygène (Part IV)." A Kraftwerk-esque sounding syth comes in for the melody. This is catchy. A bass beat and more synths are layered in. The album ends with "Oxygène (Part VI)" and its rhumba/bossa nova beat. There's thunder, ocean and seagull sounds. Dual, simulateneous synth melodies are layered over a long droning sound. This album is ambient, soothing, repetitive and hypnotic. I have to be honest; I struggled to keep focus throughout and found it much better as background music. I did appreciate Jarre trying to create a different atmospheric vibe in each song and his building of layered synth noises and melodies. I can definitely see it's influence in the electronic and ambient musical areas. If you're a fan of those, this album is worth checking out.

"Henry's Dream" is the seventh album by Australian rock band Nick Cave and the Bad Seeds. I like the Wiki genre description of punk blues. I'll go with that. It was the first album with now long-time members Martyn P. Casey (bass) and Conway Savage (piano, organ, backing vocals). Others members of the Bad Seeds included Cave (vocals, piano, organ, harmonica), Mick Harvey (rhythm guitar, piano, vibraphone, organ, drums, backing vocals), Blixa Bargeld (guitar, backing vocals) and Thomas Wyder (drums, backing vocals). The album was produced by David Briggs; the band was very unhappy with Briggs which led to Cave and Harvey remixing the album. Cave said the album was influenced by his experience with Brazilian street beggars. Commercially, the album reached #29 in the UK and had generally favorable reviews. An acoustic guitar opens "Pap Won't Leave You Henry." The band kicks in with a dark and heavy bass and drums. Strings are added. A chanting chorus. Cave describes the sights and people on the streets. The band goes rockabilly in "I Had a Dream, Joe" with the piano and drums rolling. A searing guitar. The first single "Straight to You" is slower with an organ, piano and melodic guitar. It's about a dying relationship and a good song. A droning organ and slower drumbeat carry "Christina the Astonishing." The harrowing story of a Christian saint. Things don't really lighten up and climax on the closer "Jack the Ripper." Pounding drums and bass. A tale of a toxic relationship as every time the protagonist kisses her she screams Jack the Ripper. Cave in full frightening mode. Compelling and dramatic are good descriptors of this album. The music is built around the lyrics of the down and out, failing relationships and tales of despair. I think that is just about every Cave album I've heard, maybe this one moreso than others. This is a good album as is every Cave solo or with the Bad Seeds album that I've cone across. If you're in an angry mood, this album may fit the bill for you.

"It's Too Late to Stop Now" is a live double album by Northern Irish singer-songwriter Van Morrison. The songs were taken from performances in LA, Santa Monica and London during a three-month tour with an 11-piece band, the Caledonia Soul Orchestra, which included a horn and string section. It was recorded at what's said to be his best phase as live performer. The album is considered among the best live albums ever. It did reach #53 in the US. The album begins with a cover of Bobby Bland's "Ain't Nothin' You Can Do." Hanndclapping, piano and a big sound with the horns. Van just belted it out. The strings, guitar and horns combine for a great version of "Into the Mystic." I love the horn sound when Van sings "When the fog horn blows. A top notch performance by Van too. "I've Been Working" showcases how funky this band can be. A wah wah guitar adds to an album highlight. One of my favorite songs on the album is "St. Dominic's Preview." All sections of the band are rollin.' Guitar, horns and piano. The album ends strong with side four. Van really gets the crowd going with two Them songs , "Here Comes the Night" and "Gloria." The band picks up the pace in the first song. The violin really shines. In the second song, there's hand clapping as Van leads a rousing version. "Caravan" is one song which combines the jazz, soul and blues of Van's music. He does a great job of playing off the strings and the strings off him. The album closer is a 10-minute version of "Astral Weeks'" Cypress Avenue." It's another song with Van improvising with the musicians as he builds and slows down the song and gets the audience involved. It's his most jazzy song on the album. An absolutely majestic ending with the horns. This is a great album with the music being both loose with the improvising and tight with band and instruments. Both Van and the musicians give each other space to improvise and perform and play off each other. It reminded me of Frank Sinatra and his band on "Songs for Swingin' Lover!." That is rare to come across. The musical styles included blues, soul, funk and jazz. The song selection is varied with covers, songs from Them and songs from all of Van's solo album excluding "Tupelo Honey" and "Blowin' Your Mind!" Yeah, I would say this up there with the best live albums I've heard.

"Hot Rats" is the second solo album by American musician, composer and bandleader Frank Zappa. The album was the first after the dissolution of the Mothers of Invention with five of the six songs being instrumentals. An apt description is instrumental jazz-influence compositions with extensive soloing. It was one of the first albums to use a 16-track recorder. Frank played guitar, octave bass and drums and his main collaborator, Ian Underwood, played piano, organ, flute, clarinets and saxophones. There were a lot of other musicians who also contributed. Commercially, it hit #9 in the UK and #173 in the US. One of Frank's most well-known songs "Peaches en Ragalia" opens the album. A drum and piano roll starts the song which goes to horns and keyboard for the melody. The song moves around....well, all these songs do. There's a great horn mid-section. Ron Selico killing it on the drums. Captain Beefheart sings the only album vocals on "Willie the Pimp." A down and dirty sound opens things up....more bluesy. Frank has an absolutely epic seven-minute guitar solo. Another highlight is Don "Sugarcane" Harris on the electric violin in the intro and outro. "The Gumbo Variations" has a nasty, bluesy guitar intro with the sax in the background. This nearly 13-minute long song is one of horn and guitar solos. I think Underwood used every horn he had. Some of the solos are layered. Some more stud drumming...this time by Paul Humphrey. The album closes with "It Must Be a Camel." The structure is pretty much the same with individual and layered solos of guitar, piano and horns. Jean Luc-Ponty on the violin. This song more in jazz area. This is a complex album with instruments coming in and out. They're layered at times. It is evident that Frank took full advantage of the 16-track recorder. Of course, the musianship is just top notch with some impressive solos especially Frank's guitar ones. This is one of my favorite Frank albums. Besides, some of the song titles, there's nothing gimmicky or sarcastic going on which can annoy me in some of his albums. An album worth listening to if only for the musicianship and/or the wonderful "Peaches en Ragalia."

"Savane" is the final solo album by Malian musician Ali Farka Touré. The album was recorded as Touré was dealing with terminal bone cancer and was released posthumously, four months after his death. African blues is the genre category. Touré played guitar and percussion and was on vocals. The album also features a large number of African blues which included instruments such as the bamboo flute, ngoni (lute), traditional percussion, one-string violin (njarka), sax and harmonica. The album was certified gold in Europe selling at least 100,000 copies. The album opens with "Erdi." A large number of instruments are playing including the guitar, harmonica and ngoni (I think). The pace of the song is slow and defintely in a bluesy fashion. " Savane" has a melodic guitar which is very Spanish sounding. A stark guitar solo. The song builds throughout. Some songs have more vocals than others and one that has a large group singing in the chorus is "Soko Yhinka." Guitar and percussion are featured. The album closer "N'Jarou" gets a groove going with the acoustic guitar, ngoni and consistent percussion. There's humming and multiple backing vocals. Touré sounds happy. It seems like I've liked most of the albums that I've come across in this challenge where I have little to to no experience; this album is no exception. It has a bluesy feel and pace, almost stark at times. I was doing something very repetitive while I was listening to this and the pounding percussion and multiple stringed instruments made it very hypnotic. It's mostly a pleasure hearing new instruments and this album provides the ngoni and njarka. This is an album worth checking out and, for me, I'll seek more of the African blues.

"Home is Where the Music Is" is a jazz and Afrobeat double album by South African trumpeter, cornetist, singer and composer Hugh Masekela. The album was produced by Caiphus Semenya and Stewart Levine and recorded at Island Studios in London. Semenya was the writer of many of the songs. The songs span jazz styles from blues soaked jazz to township bop. The band includes Masekela (flugelhorn), Larry Willis (acoustic/electric piano), Dudu Pukwane (alto sax), Eddie Gomez (bass) and Makhaya Nitshoko (drums). Piano and a drumbeat open things in "Part of a Whole." The flugelhorn and sax leading the melody. The bass is sort of funky. A jazzy drumbeat backs the horn and piano solos. "The Big Apple" is more dramatic with Willis on both pianos. An interesting dynamic with the drums, bass and piano playing a piece with seemingly the horns taking off in another direction. "Maseru" is much faster paced with a rolling piano, drums and bass with the horns over the top. "Blues for Huey" showcases the outstanding drumming of Nitshoko with a intro drum solo and he never let's up. The album closes with "Ingoo Pow-Pow." Vocal chanting, multiple percussions and piano. Here is the Afrobeat. The song ends with all instruments in chaos. I always like that. Well, mostly. This is a great sounding album; the clarity is there for each instrument. Songs are in the six to ten minute category with gives time for extended jams. And the extended jams can be solo or layered. The jazz differences to me were really the song pace and particular drumbeat. This is a really good album and one I would not hesitate to pick up.

"Black Monk Time" is the only studio album by German-based American garage rock band the Monks. The Monks were composed of five American GI's stationed in West Germany. The band members wore black habits with cinctures wrapped around their necks and hair worn in partially shaved tongues. Well, at the very least I learned two new words today. The album is considered a landmark recording in the development of punk with a subversive style and blunt lyrics. It had no commercial success and was not released in theUS until 1994 due its condemnation of the Vietnam War. It did receive wide-spread critical acclaim retrospectively. The album starts out fast with "Monk Time." A ringing guitar, a hypnotic marching band drumbeat and a pyschedelic organ. Lead singer Gary Burger howls "Hi, my name is Gary." It's hard time. It's monk time" being repeated in this anti-Vietnam War song. "I Hate You" proves grunge did exist in the 60's. Slow with the bass and drums. The guitar sounding like an engine. Burger chaotically screaming why he hates her. The next song, "Oh, How to Do Now," speeds things up. The organ has a grinding sound. The guitar is awash in feedback. The whole group singing while Burger is yodeling over the top. This is the first yodeling I've come across in 614 albums. Echoing guitar slashes open their single "Complication." A pounding drum and bass. A chaotic organ. Multiple vocals singing "People die, people cry for you." Burger singing "complications" simultaneously is his whacked-out voice. Another anti-war song. The rhythm section gets a Bo Diddly beat going in "Drunken Maria." An over-the-top organ. The band repeating "Sleepy Maria don't drink. Drunk Maria don't sleep." Sometimes, simplicity works. This album was great, in your face, minimalist and punk. Their style was a mix of Suicidal Tendencies, Frank Zappa and an even more whacked out Angus Young on vocals. But, it works. Most songs are rhythm driven by a pounding bass and drums. An eerie chaotic organ along with a guitar that slashes and uses feedback. They also add a banjo in at times buried in the rhythm. Most vocals are short sentences. Crazy does not do justice descrbing lead singer Gary Burger. He's somewhat beyond that. The lyrics are more serious when addressing anti-war and comical with everything else. I see their influence in punk and in the band Kraftwerk (minimalist vocals). This is an album that everyone needs to listen to.

"Third" is a live and studio album by English rock band Soft Machine. It is their third album overall and a double album containing a single composition on each of the four sides. Musically, it was a shift from their pyschedelic rock towards jazz rock and electronic music. The bandmembers included Robert Wyatt (drums, vocals, organ, pianos and bass), Elton Dean (alto sax, saxello), Mike Ratledge (pianos, organ) and Hugh Hopper (bass). Critically, many call this album the band's high point and, commercially, it hit #18 in the UK. Electronic bubbles and a weird, eerie organ open "Facelift." I'm guessing musical loops, and a grinding noise follows. About halfway through the music changes (that happens in all these songs). There's a melody of sorts with Lyn Dobson on the sax. The music speeds up and gets pyschedelic. "Slightly All the Time" begins in a jazzy way with the bass and drums. The pace picks up, quick beats, with the flute and organ. Some organ solos. The song slows down to a smooth jazz style and ends with an organ blast. "Moon in June" has three parts. The first part has Wyatt on vocals with a bass, organ and piano...very proggy. The second part is mostly instrumental. The band jamming and what sounds like a guitar must be an electric piano or organ. The third parts ends it with a droning organ, violin and Wyatt scatting. What a ride! The closing song "Out-Bloody-Rageous" takes us on another ride. It starts ambient, the band kicks in in a jazzy way, slows down (back to smooth jazz), speeds up with a drum roll and horn and ends with a repeating electric piano. This album is experimental, electronic, jazzy and prog (sometimes all in one song). It's also challenging, changing, complex and never boring. I'd say this is way ahead of its time but I don't know if I've heard anything like it since. I think it's fantastic. This challenge has introduced me to three UK bands with soft in their name that I have little to no experience (Soft Machine, Soft Cell and Soft Boys). All of their particularly chosen albums have been terrific and worthly a listen.

"L.A. Woman" is the sixth studio album by Ameican rock band the Doors. It was also the last to feature lead singer Jim Morrison. The album was heavily influenced by the blues. The lyrics addressed contemporary topics in their life including love, life in LA and complex aspects of human life. The album received mostly positive reviews and, commercially, hit #9 in the US and #28 in the UK. "The Changeling" gets the album going in a bluesy and funky way. A rolling rockbeat along with the piano and organ. Guitarist Robby Krieger has a wah-wah guitar and then goes to a solo. The song was from Morrison's notebooks. Everyone and everything changes. A guitar riff with the bass/drums kickin' in and we're off with the first single "Love Her Madly." A driving piano and organ. Krieger wrote this song which is about romantic insecurity. "L.A. Woman" has one of thr most recognizable opens with the car speeding sound and drums, organ, guitar coming in slowly. Just a great groove. It has to be one of the best drving songs. Krieger's guitar riffs. Morrison climaxing with repeated "Mr. Mojo Risin'" It sounds like his goodbye to LA and his mixed feelings. A classic. "The WASP (Texas Radio and the Big Beat)" is a great deeper cut. A thumping bass and drums. A droning organ. Morrison sounding like he talking from a loud speaker. The lyrics are poetic with the clashing of the establishment and counterculture. "We is stoned, immaculate." Yes sir! Raining and thunder appropriately open the closer "Riders on the Storm." That haunting organ. There's also chilling lyrics if you listen close. It appears to be about a hitchhiker who kills. This album combines blues, funk and stoner rock. It has some of their very best songs. Morrison's voice is in command. Some of his best lyrics covering a variety of topics. The band is tight. Overall, I like their debut slightly better but this is a very, very good album.

"What's Going On" is the 11th studio album by American soul singer Marvin Gaye. It was the first album credited to Gaye as producer and also to Motown's in-house session musicians, the Funk Brothers. It was a concept album with songs seguing into the next song and told from the point of view of a Vitenam veteran coming home to witness hatred, suffering and injustice. Introspective lyrics address drug abuse, poverty, the Vietnam War and promoting ecology. Commercially, it hit #6 in the US and #56 in the UK. The album is considered one of the greatest of all time and a landmark recording in popular music. In 2003, it was inducted into the National Recording Registry by the Library of Congress for its artistic significance. The Four Tops' Ronaldo "Obie" Benson inspired Gaye for the lead single "What's Going On" as he described the police brutality he saw at an anti-war protest in Berkeley. The song begins with people talking and an alto sax solo. Gaye's great voice comes in. Very soulful. Strings and a great bass. Multi-tracked background vocals throughout. What a way to start an album. "Save the Children" was an emotional plea to help disadvantaged children. Strings and congas. A sax. Loud background singers. Gaye talking and singing a response. The first side rolls along and closes with "Mercy Mercy Me (The Ecology)." The guitar riff, congas, dual-layered lead vocals. A great sax solo by Wild Bill Moore. A plea for the environment. "Right On" opens the second side. Funk rock, Latin soul and most of all jazzy. The flute, piano, bass and what sounds like a zipper. Interesting song. The album closes with "Inner City Blues (Make Me Want to Holler)." Piano keys start then the congas come in then multple percussions then the bass then Gaye singing. Every instrument going, creating a bluesy funky vibe. Strings and a flute join in. A serious tone as Gaye describes urban poverty. The song fades out with the percussion and a sax. This album is deeply soulful. It's jazzy and funky at times. The strings add an air of classical music. One of the critiques of this album is that the three singles are great but everything else is "blah." I didn't think that; the songs flow together and build within the song. Not a throwaway song that I heard. What can you say about Gaye's voice? One of the best ever. I have to mention the outstanding bass playing of Bob Babbitt. The layered production of multiple vocals, the core band, the strings and the horns also works for me. A true classic album.

"Suzanne Vega" is the debut studio album by American singer-songwriter Suzanne Vega. The music is in a folk style with string back arrangements and has been attributed to ushering in a new era of singer-songwriters. The album was recorded in NYC and produced by Steve Addabbo and Lenny Kaye (famed guitarist of the Patti Smith Group). Commercially, the album reached #11 in the UK and #91 in the US and, critically, received mostly favorable reviews. A melodic strumming guitar opens the album with "Cracking." Actually, that's just about all these songs. A synth background with Vega talking and then singing. She's afraid of being frozen in a situation. Her first single "Marlene on the Wall" adds an idiosyncratic drum beat. Vega singing fast. An electric guitar solo and a jazzy outro. She has a poster of Marlene Dietrich watching as she brings through various men. Vega brings a strong voice in her second single "Small Blue Thing." More melodic. Someone makes her feel very small and she's turning in his hand. "Undertow" is an emotional song where I think Vega is talking about anorexia. A noticeable drums and bass. Some of her best lyrics are in "The Queen and the Soldier" and "Knight Moves." The main character is a queen in both and, in one, the queen ends up killing the soldier for insubordination (I think a reference to maturity) and in the other the pawn flips the table and turns the queen into the pawn. Suzanne Vega has a nice voice and is emotional in spots. Her lyrics are mostly very clever. The music is fairly stark with an acoustic and electric guitar with minimal accompaniment (piano, synth, drums, bass). There's very nice production. This is an enjoyable album. Solid. I don't know if this album motivates me to listen to more Suzanne Vega but I wouldn't hesitate to do so.

"Fever to Tell" is the debut studio album by American indie band Yeah Yeah Yeahs. Critics labeled their music with a fairly wide range of genres including garage rock revival, art punk and dance punk. They all fit too. The album is produced by David Andrew Sitek of TV on the Radio fame and the band and was mixed by Alan Moulder. The bandmembers included vocalist Karen O, guitarist Nick Zinner and drummer Brian Chase. Commercially, the album made it to #13 in the UK and #55 in the US and had wide-spread critical acclaim. Drums pounding and a guitar sounding like bells ringing open the album and "Rich." This is driving rock. Very aggressive. Karen O yelling and singing. When all else fails just say it's about sex on this album. That's what I'll do. The first single "Date with the Night" continues with more guitar-driven rock. Karen O explodes. They're young and wild. The second single "Pin" has a more melodic guitar riff. The song bounces from slow to fast and back again. Another sex song. The album ends with two of their best songs. "Maps" is the first Yeah Yeah Yeah's song I heard and it probably is my favorite. High piercing, repetitive guitar riffs. The great drumbeat. Karen O at her most serious and emotional. Two people are in a relationship and both are going their separate ways. "Y Control" continues the effective high-pitched guitar riffs. Faster paced drums. Nice layering of guitars. Karen O singing emotionless almost resigned to being helpless. A song about being controlled by a man (even though the relationship might be over). I have this album and forgot how hard and raw it is. Pounding drums, guitar driven. Definitely an edge to the music and to Karen O's vocals. Karen O screams, sings, and, yes, it's hard not make the early Siouxsie Sioux comparisons. Nick Zenner is excellent on guitars. Lots of histrionics or as I say gymnastics...with feedback, high pitched chords and layering. The lyrics can be raunchy at times which Karen O and the music match. This is a pretty great album which sounded really good today. It's aged well.

"A Walk Across the Rooftops" is the debut album by Scottish band by the Blue Nile. The genres assigned are sophisti-pop, synth-pop, ambient and blue-eyed soul. All fit to some extent. The bandmembers included Pat Buchanan (vocals, guitars, synths), Robert Bell (bass, synths) and Paul Joseph Moore (keys, synths). The album was produced by Buchanan and Bell and engineered by Calum Malcolm. The album had little commercial success upon its release but slowly gained sales in the ensuing years and reached #80 in the UK. It also had wide-spread critical acclaim. The self-titled "A Walk Across the Rooftops" opens the album. A slow opening, ambient, a drum beat with synth noises. The synths picks up the pace and sounds like footsteps. Dramatic vocals from Buchanan. He's in love. With a girl? With a city? Both? The next song "Tinseltown in the Rain" makes doubt that's it's and ode to Glasgow. A faster pace song. Piano synths. A jangly guitar. Strings added too. "Stay" is a little more pop. Layered synths with a catchy melody. Buchanan repeating "Stay, I will understand you." It's a pleasant song. He's begging a woman to stay. The album closer "Automoblie Noise" has a mechanical beat. Actually, a few songs on this album do as well. A melodic, dreamy piano/synth. The song is very stark. I think he's trying to mimick the never ending bustle/burden cycle of daily life. This album is atmospheric, subtle and pleasant. It's also electronic and very synth-oriented. Most of these songs are long with the music slowly building. There's space between the music and Buchanan's vocals. And Buchanan is a very good and dramatic lead singer. This is a really good album especially in that 80's synth-pop genre.

"Atomizer" is the debut album by American punk rock group Big Black. Noise rock, post hardcore and industrial are the Wiki-assigned genres. I'd agree. The band is Steve Albini (guitar, vocals, drum machine), Santiago Durango (guitar) and Dave Riley (bass) with Ian Burgess as the recording engineer. The album was self-produced by the band and Burgess. A loud droning noise and mechanical drum beats open "Jordon, Minnesota." Albini is yelping with his singing muttled. A buzzsaw guitar. It's about a child prostitution ring in Jordan and the evil in everyone. We're off to a frightening start. A high-pitched repeating guitar begins "Kerosene." A grating sound and a pounding bass. The intensity keeps growing. He's bored and debating whether to set himself on fire. Yes, seriously. "Bazooka Joe" opens with Albini talking. The drum machine and eerie-layered guitars kick in. A guy goes to war, cones back home and becomes an assassin. It's a simple plot. The album ends with a live version of "Cables." Albini singing with a scratchy guitar. The band kicks in. This is more punk. There's a guy that likes watching cows get slaughtered. This is a frickin' great album. The music, lyrics and singing are all terrifying. These lyrics are what death metal bands dream of. I realize the lyrics are tongue-in-ckeek but taken at face value, there's songs about child prostitution rings, bad cops, self-immolation, brothels, fist fucking, wife beating, alcoholism, war, assassins and killing cows with cables. The music is in your face, essentially industrial with a beat. Albini's vocals are buried even when he's screaming. This was quite the trip.

"Super Dupa Fly" is the debut atudio album by American rapper Missy "Misdemeanor" Elliott. The music on the album has elements of hip hop, dance, R&B, electronic music and soul. It was recorded and produced solely by Timbaland and features guest appearances by Busta Rhymes, Ginuwine, 702, Magoo, Da Brat, Lil' Kim and Aaliyah. The album received critical acclaim for Timbaland's futuristic production and Elliott's performances and persona. Commercially, it hit #3 in the US and #124 in the UK. Busta Rhymes gets the album going with his introduction of Missy Elliott in "Busta's Intro." It's a warning that an historical event is about to take place. "Hit Em Wit Da Hee" has a "loopy" R&B feel reminding me of NWA. There's lasers and keyboards. Sampling Suga and Björk. Elliott's rapping and singing. Great layering of music and vocals by Timbaland (throughout this album). Lil' Kim contributes. "Sock It 2 Me" featuring Da Brat is more in the R&B/pop category than hip hop. Great use of the Delfonics "Ready or Not Here I Come" in the melody. Speaking of great sampling, "The Rain (Super Dupa Fly)" uses vocals samples from Ann Peoples' "I Can't Stand the Rain." This is a little more funky and a little slower. "Beep Me 911" features 702 and Magoo. A very interesting beat. The background singers are creating a rhythm by themselves. Multple singing vocals. She's telling her lover, that if he's going to leave her, at least tell her. No need to go into the meaning of "Pass Da Blunt." There's great use of Musical Youth's "Pass the Dutchie" as Elliott sings the vocals like the Musical Youth. There's lots of really good things to like about this album. Great use of samples in the melody, background and vocals. Superb production by Timbaland with the layering of music and the vocals, the sampling itself, the melodies and the rhythms. Lots going on in each song. Elliott is also impressive with her confident singing and rapping. I will say that the album is top heavy with most of the good songs in the first half; some of this album could have been trimmed...oh, the CD era strikes again.

"Rust in Peace" is the fourth studio album by American thrash metal band Megadeth. It was the first album with guitarist Marty Friedman and drummer Nick Mensa as lead singer, guitarist and band leader Dave Mustaine kicked out guitarist Jeff Young and drummer Chuck Behler from the band. Bassist David Ellefson rounds out what most people consider to be Megadeth's classic and best line-up. The album's lyrical themes include religion, politics, warfare and Mustaine's fight against alcohol and drug abuse. The album is critically well regarded and considered one of the best thrash metal albums of all time. I'd agree there. Commercially, it hit #8 in the UK and #23 in the US. The album opens with two absolute thrash metal bangers. "Holy Wars...the Punishment Due" starts with a guitar sounding like a horse galloping. The drums, bass and guitar kick in. Yes, lots of guitar shredding. Yes, lots of pace changes. The song was inspired by a Megadeth concert in Northern Ireland where Mustaine found out bootleg shirts were being sold to support "the cause," the band played "Anarchy in the UK " and caused a riot. "Next mistake....no more mistakes." It's hard for me to hear "Hangar 18" and not visually see those Guitar Hero II circles rolling very quickly off the TV screen. An opening guitar riff which turns into dual guitar leads. Very melodic. Pace changes with epic and memorable guitar solos (plural). Of course, it's about conspiracies in Area 51. No shortage of interesting lyrics on this album as in "5 Magics" Mustaine speaks of mastering the five magics to over throw the evil prince. It's based on the fantasy book of the same name and, I'm thinking, most likely an analogy for Mustaine's struggle with drugs. It's a slower paced song with eerie guitar keys and feedback. The band really goes at it when they speed up. Mustaine making statements and then answering in a deep voice. Speaking of epic guutar solos, Friedman delivers one in "Tornado of Souls." A drving rhythms section throughout and about Mustaine's ex-girlfriend Diana. The album closes with "Rust in Peace...Polaris." A drum intro here (all instruments had an intro). Speed drums with an odd time signature as the rest of the band joins. There's a good deal of thrash metal mode. Mustaine's talking and singing. A statement on nuclear warfare and the ensuing spreading disease. Everything works on this album. Absolutely, top-notched musicians. Stunning guitar solos and dual-lead and layered guitars. Multiple pace changes. It's a melodic, fast and hard...that's difficult to combine. The lyrical themes are classic heavy metal - war, science fiction and drugs but Mustaine's lyrics exceed mostly every other metal album. This sounded good today as it did back in 1990 and in 2006 (Guitar Hero II released). A great, great album and up near the top of any best thrash metal album list.

"The Idiot" is the debut studio album by American musician Iggy Pop. Musically, Iggy called it "James Brown meets Kraftwerk." That leaves a lot open. I'd say post-punk is more accurate. David Bowie produced and wrote the music while Iggy wrote and sung the lyrics for the album. Bowie also played most of the instruments. The recording took place after the break-up of the Stooges and a period of drug addiction where Bowie and Iggy moved to Europe to kick their habit. The album had largely positive reviews and, commercially, hit #30 in the UK and #72 in the US. "Sister Midnight" opens the album in a funky way with the bass and a droning synth. Nice underlying guitar. Iggy talking and yelling in a deep voice. This song sounds a lot like Bowie's "Fashion." It's about a cipher who could send Iggy to the moon or fall back to earth. "Nightclubbing" introduces instruments one at a time: electronic drum, synth, bass, piano and a distorted guitar. It's electronic, Krautrock if you will. Iggy singing in a cold, emotionless tone. It's about hanging out every night (clubbing) with Bowie. I believe it's a xylophone that's creating an Asian melody in "China Girl." Guitar background, clear bass and drums. A very nice mixing job. Great guitar bridge. It's about unrequited love and an actual Asian woman. I like this version better than Bowie's remake in 1983. Side two begins with "Dum Dum Boys." Iggy's talking about his ex-Stooge's bandmates. Slow drums, a wah-wah guitar and a repeating piano. The album closes with hypnotic and industrial "Mass Production." Synths, horns and guitar are featured. Iggy's vocals are fully throttled. This album is electronic, cold, experimental and droning. This has to be a singular entry in the Iggy Pop catalogue. It sounds more like a Davud Bowie album. And actually, some people consider it part of his Berlin trilogy set of albums. "The Idiot" was recorded before "Low" and, for some, connects the musical dots from "Station to Station" to "Low." I'll buy that. Overall, this is very good album and a must listen for all Bowie and Iggy fans.

"Live Through This" is the second studio album by American alternative rock band Hole. The music was a departure from their previous more harcore album "Pretty on the Inside" towards more refined melodies and song structures. There had been accusations that lead singer/guitarist Courtney Love's husband Kurt Cobain had written most of the songs which were denied by all the band members; Love and lead guitarist Eric Erlandson wrote the songs. The two other band members for this album were bassist Kristen Pfaff and drummer Patty Schemel. Lyrics deal with beauty, motifs of milk, motherhood, anti-elitism, violence against women, suicide, depression and child abuse. Yeah, Love covers a lot. The album was very well received critically and, commercially, hit #52 in the US and #13 in the UK. An acoustic guitar strumming opens "Violet." Loves voice comes in which goes to a scream as the band kicks in fast and hard. They do the soft-hard-soft dynamic perfectly in this song and throughout the album. The song was based on Love's tumultuous relationship with Billy Corgan. On the the first single, "Miss World," the band showcases their melodic edge. Acoustic guitar and a great vocal chorus. This song features another structure I really like in that the music is happy sounding but the lyrics describe post-partum depression and substance abuse (a dichotomy). "Doll Parts" starts with an acoustic guitar and Love singing softy. A nice melodic bass and layered vocals. It's a song about Love's insecurity in her relationship with Cobain. The band covers the Young Marble Giant's "Credit in the Straight World." The song with the most punk edge on the album as they substitute in drugs for money relative to the original. "Soft, Softest" starts off very soft and builds. It's a very melancholic and personal song. Love alludes to bullying and child abuse. This is great album. It's melodic, has catchy choruses and a hard and punk edge. It also has some songs that best display the soft-hard-soft song dynamic. The lyrics are excellent and very personal. I remember when it came out I thought it was one of the best albums I had heard in a awhile. I still think that and easily put it in my favorites of the 90's.

"Soul Mining" is the debut studio album by English post-punk and synth-pop band the The. The The is Matt Johnson who plays the synthesizers, percussion, all instruments and is the vocalist. A host of other musicians contributed. There was a label bidding war for Matt Johnson due the recent commercial success of synth-pop specifically Soft Cell's "Non-Stop Erotic Cabaret" and he was signed to CBS Records. The lyrics on this album deal with relationship insecurities and social alienation. The album received positive reviews but, commercially, just did OK, with the album reaching #27 in the UK. "I've Been Waitin' for Tomorrow (All of My Life)" opens the album. A countdown to an industrial drum beat to a weird synth to Johnson singing in the background. A synth carries melody with a lot going on. The music is hypnotic and unnerving and fits the lyrical message of confusion and dissonance with the media. The mood changes abruptly with the uplifting sounding "This is the Day." Great synth melody, drumbeat and especially the fiddle/accordion combination. I don't even want to know what this is about but I think he's self reflecting on life...one of my favorites of the 80's. The first single "Uncertain Smile" is another song with a great melody and uplifting vibe. Acoustic guitar and electric guitar bridge. It's a song about unrequited love. Oh, and then there's Jools Holland giving an epic and very jazzy three-minute piano solo which also ends up being the outro. The album closer "Giant" begins with a repeating mechanical beat and a clock ticking. This song does a nice job of adding and layering instruments, most synths. The music builds and ends with people chanting. Johnson is looking back regretfully at his life and is afraid of dying. This album covers a fair bit of ground stylistically going from unnerving post-punk to happy synth-pop to more chill. The music is synth heavy but every song seems to feature a different instrument. Johnson keeps things interesting. I've always really liked "This is the Day" and "Uncertain Smile" but, for some reason, had no desire to check out the album. I don't know why; this is a very good album and motivates me to check out his other albums.

"The Predator" is the third studio album by American rapper Ice Cube. West Coast hip hop, gangsta rap, political hip hop and hardcore hip hop are the listed "Wiki" genres. The album was released just after the 1992 LA riots and many songs comment on the racial tensions in the US. The album title is a reference to the movie "Predator 2," and, yes, there is a great Arnold Schwarzenegger sample. Many producers were used including DJ Pooh, Sir Jinx, Torcha Chamba and DJ Muggs. The album received positive reviews and, commercially, was a massive hit debuting at #1 in the US. It hit #73 in the UK. The first song "The First Day of the School" sets the album tone with an excerpt from the movie "American Me" where a bells rings and people get body searched before going into prison (school). This blends right into "When Will They Shoot?" This is more funky with scratching. Ice Cube is commenting on white power. The first single "Wicked" opens with Don Jangwarr introducing Ice Cube. The music reminds me of "Straight Out of Compton" but has a much tighter and harder beat. Don't mess with Ice Cube. The album switches gears for a song in "It Was a Good Day." it's a happy song as Cube imagines a great day. Great sampling of the Isley Brother's "Footsteps in the Park, pts. 1 & 2." Cube is driving around, playing basketball and best of all, he didn't have to use his AK. Great rhyme of chronic with Supersonics. We go right back to harder, tighter beat in "We Had to Tear This Motherfucka Up." Commentators describe the result of the Rodney King trial and, well, Cube goes off on the LA cops. The best sample has to go the use of Steely Dan's "Green Earrings" repeated throughout "Don't Trust 'Em." A quick, funky song. Cube can't trust women. The third and final single is "Check Yo Self." An interesting sample of a horn carrying the melody. It's layered with women singing. People better check yo self before you wreck yo self. I do remember this album coming out right after the LA riots. It was big. Ice Cube is no doubt a forceful rapper. There are a lot of brilliant and funny pop references. Heck, this album is credited with "It's on like Donkey Kong." Yes, a lot of songs focus on the LA riots and police but there's also songs on women, rap braggadocio and just having a good time. The music also has a little variety: songs with tighter beats, more laid back and chill, funky and even soulful. This a very good album and worth a listen if just for his rhymes.

"Black Metal" is the second album by English heavy metal band Venom. It was released in 1982 during the new wave of British heavy metal but unlike the music of those particular bands, this is firmly planted in the thrash, speed, death and black metal scenes. There's actually disagreements as to which one but who cares; I heard elements and songs in all of them. They cover all the basic metal themes: Satanism, witchcraft, nightmares, horror mythology and teenage sexual fantasy. The album received critical acclaim and is considered one of the most influential albums released, especially in the Norwegian black metal scene. The first side "Black" opens with a chainsaw on steel plates in the self-titled "Black Metal." And why wouldn't you open like that. It goes right into a thrash metal style and sounds like it was recorded underwate. But, it works. Lead singing Conrad "Cronos "Lant repeating "black metal." Impressive drumming by Anthony "Abaddon" Brey. Sand and a cardboard box were used to create the sound of dirt being shovelled on a coffin in "Buried Alive." A priest delivers a prayer as a gong strikes. Eerie guitar notes lead into a heavy sludgy/grungy bass and drums. "Summon the dead!" A ripping guitar opens "Sacrifice." A thunderous rhythm section. This is melodic speed metal. Yes, I said that. "The moon is black and the witches dance, heaven is denied. Sacrifice!" A guitar riff based on the children show "The Magic Roundabout" opens "Countess Bathory." Dave Grohl said that the open to "Smells Like Teen Spirit" is actually based on that riff. Yes, I hear it. The song just kicks into a heavy groove. Pretty standard heavy metal but just rocks. I also hear Randy Rhoads' "Over the Mountain" in the guitar riff. Great song. This album is fantastic. I needed this today. The band does change their style throughout from speed to thrash to more heavy and sludgy. I heard a lot of future metal in their songs especially Metallica's "Kill 'Em All." What they lack in technical ability they make up in attitude and delivery. At times, the production did sound muddled but it didn't bother me too much. This album is an essential must listen to if you're a metal or even hardcore punk fan.

"Shleep" by is the seventh solo album by English Canterbury scene and progressive rock veteran Robert Wyatt. The album was a return to featuring a diverse range of musicians like his 70's albums. On this album, other musicians included Philip Catherine (Belgian jazz guitarist), Brian Eno, Phil Manzanera, Paul Weller, Chucho Merchan (Colombian jazz and rock guitarist) and Evan Parker (sax). The album was produced by Wyatt, Eno and Alfreda Benge (Wyatt's wife who also co-wrote many of the songs with Wyatt). "Heaps of Sheep" opens the album with guitar and a galloping beat. Synth in the background. An uplifting song with a nice vocal chorus. It reminds me of early Brian Eno. Not a bad thing. Wyatt is counting sheep as he couldn't sleep. Wyatt wrote many of these songs while suffering from insomnia. Piano, sax and drums give "The Duchess" a jazzy vibe. Odd beats and dissonant horns make this song unique. It's a tribute to his wife. "September the Ninth" is probably the most straight-forward jazz song on the album. Layered horns with a trumpet added to the saxophones. There's a piano and drums and it's mostly an instrumental song. Lyrics come in halfway and describe a woman hoping to have wings and fly away. The insomnia must have progressively become more delirious as these lyrics progressively become more "out there." And, thus, we enter "A Sunday in Madrid." It's a slow start with the piano. Drums and a Eno-esque guitar lay a hypnotic melody. Wyatt is singing rapidly, a la "Subterranean Homesick Blues." Wyatt would would perfect that in the next song. Abstract lyrics and imagery...Pa, bears, rabbits and imprisoned rainbows. This album is jazzy, dreamy, atmospheric, experimental, abstract and mostly beautiful. The influence of the different musicians lends to its varied styles and instruments. Robert Wyatt has a great singing voice even if I couldn't completely understand everything; I don't think I'm supposed to. Of the two previous Wyatt albums I've had, I really liked the Soft Machine's "Third" but had trouble with his 1974 solo album "Rock Bottom." I might have to give that one another listen because "Shleep" was quite outstanding.

"Mott" is the sixth studio album by British rock band Mott the Hoople. It was released right in the middle of the glam rock era. It's also a concept album of sorts about rock 'n' roll success. The album was the last one to feature lead guitarist Mike Ralphs who would leave for Bad Company and the first album without keyboardist Verden Allen. Other bandmembers included Ian Hunter (lead vocals, piano and guitars), Pete "Overend" Watts (bass, backing vocals) and Dale "Buffin" Griffin (drums, backing vocals). Commercially, the album hit #7 in the UK and #35 in the US. There were also two separate albums covers on its release (US and UK). The album opens up with rollicking "All the Way from Memphis." A charging piano melody and rhythm. Roxy Music was recording in the adjacent studio so Andy Mackay makes a great appearance on the sax. There's a great mix of solos of the sax and Ralphs' guitar. It's a song about the weariness on the rock 'n' roll road. A guitar intro gets their first single "Honaloochie Boogie" going. Piano and drums join in. A nice vocal chorus and Mackay' sax makes an appearance once again. "Driven' Sister" begins with a motorcycle. It's a fun song, kind of conventional 70's rock....guitar heavy. A start-stop-start style about driving on the road. "The Ballad of Mott the Hoople" features an acoustic guitar very reminiscent of late 80's hair metal, but this is pretty good. A melancholy feel as the lyrics describe different failures of each band member as to how they fell to rock 'n' roll fame and didn't have any more success. Given that the band would only produce one more album, this album is very prescient in its concept of the effect of rock 'n' roll excesses. There are some fun, catchy songs with the piano and guitar. Ralphs' guitar playing is one of the highlights. Ian Hunter might have vocal limitations but they cover it up with vocal choruses. Some of the songs don't work but most do and for those, it's a decent album and worth a listen.

"Bat Out of Hell" is the debut album by American rock singer Meat Loaf and composer Jim Steinman. The album was developed from a musical, "Nevermind," a futuristic rock version of Peter Pan. It was recorded in 1975-1976 at various studios. Todd Rungren was the producer and a host of musicians contributed including Rungren, Roy Brittan and Max Weinberg of the E Street Band, members of Rungren's band Utopia and Edgar Winter on the sax. The album became one of the biggest selling albums of all-time and peaked on the US charts at #14 and on the UK charts at #9. A heavy guitar and sprawling piano open the album with the self-titled "Bat Out of Hell." It picks up the pace with the drums and slows down as Meat Loaf's vocals come in. Big production, maybe even over the top. Loaf sings and tells the long-winded story of a motorcycle crash. Organ and horns highlight "You Took the Words Right Out of My Mouth." The beginning of this song sounds very E Street like and why wouldn't it with Brittan and Weinberg in the band. An interesting start to the song as a guy and girl are talking and she'll offer anything to the guy (wolve). The main character was about to say he loves her but she took the words.....and that she is Ellen Foley. Not the last time we'd hear from her. The first song I remember hearing from this album is "Two Out of Three Ain't Bad." A piano and acoustic ballad. I admit; I kinda liked this song. Some ridiculous but memorable lyrics ("I'm crying icicles instead tears) as he just can't now love the girl that he once did. A nice string ending. Little did they know, karaoke and juke box machines were about to get a work out for the next 40 years after the release of "Paradise by the Dashboard Light." The song has three parts and goes from rock guitar with heavy piano to funk and back again. Ellen Foley is back. Baseball announcer Phil Rizzuto makes an appearance. The boy makes a promise to always love the girl to get "parsdise by the dashboard light." He now regrets it and prays for the end of time. That about sums it up. This is one of the albums where certain songs got played a lot on the radio and in bars for a long period of time, I frankly got sick of the songs (a la classic rock radio). That settled down about twenty years ago and really since then the only time I can remember hearing them was a few years ago when Meat Loaf passed away. I'm not gonna run out and buy this album but it was a fun listen once through. Sure, big production, lots of instruments and dramatic, loud vocals. It is like listening to a musical. I don't know if there is a historical comp for this album. No, I haven't listen to "Bat Out of Hell II" or "III." I'm not going to recommend or not recommend this album. I'd imagined everyone has memories of these songs. So, if you want to relive those, listen to it and you don't, don't.

"Kings of the Wild Frontier" is the second studio album by English new wave band Adam & the Ants. The band underwent a major lineup change from their debut album as Malcolm McLaren wooed the backing band of lead singer Adam Ant to form Bow Wow Wow. Ant recorded this album with new partner and lead guitarist Marco Pirrani. Two drummers (Terry Lee Miall and Chris Hughes) and bassist Kevin Mooney were also added to complete the band. The album did very well commercially reaching #1 in the UK and #44 in the US. The unique two drummer beat (Burundi) opens "Dog Eat Dog." Guitar riffs and piano round things off. Ant's vocals are echoing and rapping. There's background chanting, yelling and whistling. It's a song about competition inspired by a Margaret Thatcher quote. That drum beat (with the sticks percussion more prominent) drive "Antmusic." Hey, this song still gets fairly heavy rotation on the XM New Wave station. You first hear Pirroni's post-punk guitar riffs here. A very catchy chorus. "Unplug that jukebox and little to our music." There's a singing and chanting start to the self-titled and first single "Kings of the Wild Frontier." The Burundi drum beat, guitar feedback and three-chord guitar riffs. Supposedly inspired by Davy Crockett, Ant compares his band to Native Americans. "Don't Be Square (Be There)" continues a hypnotic, repetitive drumbeat. A turned-up melodic bass and guitar slashes. Pirroni goes up and down the scales. This guitar really reminded me of P.I.L. Don't be square and get into ant music. This was my first dive, of any sort, into the music of Adam Ant. I was really surprised and impressed with Pirroni's guitar. It's edgy, dark and definitely post-punk. The two drummers really drive the music and gives it a unique sound. Ant's lyrics are varied with some dark, some playful and some comparing his band to historical groups (Native American tribes, pirates). I don't know about his other albums (a brief look at reviews gave their next album high marks ) but this one is very good and worth your time listening to it.

"Greetings from L.A." is the seventh studio album by American singer-songwriter Tim Buckley. The Wiki genres listed are funk and R&B which is a major style change from his previous albums which are pyschdelic folk, baroque pop and avant-garde jazz. Buckley is the lead singer and plays a 12-string guitar. He enlisted a bunch of session musicians which also included string and horn arrangements and female backing singers. The album did not do well commercially. Electric and acoustic guitars and a bouncey piano get the funk and boogie going in the opener "Move with Me." The three female back-up singers and the saxophone make an appearance. The song is mostly a long jam which is a commonality in most these songs. He doesn't carry if you're married, you're with me now. "Get on Top" lays down some more funk with guitar slashes and a more pronounced bass. Buckley's singing is more yelling and scatting. An organ is added to the jam. Just outstanding drumming by Ed Greene. The song title is self explanatory. The most straight-forward rock song is "Nighthawkin.'" Congas are added to the mix. He's just driving around. It's probably my favorite song on the album. Layered guitar build a nice groove in "Devil Eyes." I heard an element of jazz with the improvisation of the instruments and Buckley's random noise making. Those devil eyes melt his eyes. This is an album of mostly long and extended funky jams. There are elements of jazz, blues and folk occasionally. Buckley's vocals are more experimental than his early folk style and at times he sounds like he's making up noises. The strings add a sense of drama in those particular sings. The lyrics are pretty direct and about sleeze and sex. I really liked Buckley's two previous albums that I had: the baroque pop of "Goodbye and Hello" and the jazzy elements of "Happy Sad." I had trouble getting into this album. It's not bad; the musicianship is top notch but if I'm looking for funky R&B from 1972 there are a lot of better options. If you want to check out Tim Buckley, I recommend his early albums.

"Talking with the Taxman About Poetry" is the third album by English singer, songwriter, musician, actor and political activist Billy Bragg. Folk punk! OK, I'll agree there. More musicians were added than his previous work including Kirsty MacColl (vocals), Johnny Marr (guitarist) and Ken Craddick (piano). The album received critical acclaim. "Greetings to the New Brunette" opens with an acoustic guitar. I think the Gin Blossoms lifted this open for "Jealousy." Nice vocals by Bragg repeating "Shirley" as he describes a working class guy falling in love with a good girl. Kirsty MacColl on backing vocals and Jonnhy Marr gives an echoing guitar solo towards the end. Braggs echoes Bob Dylan's "Crimes of Freedom" in "Ideology." All politicians are crooks, get rich and laugh at the common peoples' ideologies. Clever lyrics highlight "Levi Stubbs' Tears" as Bragg tells a story of a woman with years of domestic abuse, abandonment and injury comforted by the music of the Four Tops and singer Levi Stubbs. A slashing guitar, tambourine, flugelhorn and trumpet. A great horn fadeout outro. Bragg kicks out anthem and takes a political stand with "There is Power in a Union." The song is based on George Frederick Root's "Battle Cry of Freedom." A slide guitar and loud chanting. Who will defend the workers from unjust laws! Hey, I read Upton Sinclair's "The Jungle" too. Bragg keeps the statements going in "Help Save the Youth of America." A slashing guitar which reminded me of Buddy Holly's "Not Fade Away." it's a about the apathetic feeling of the youth of America about politics....their cities will burn too. I agree to some extent on that. The strength of this album is compelling and clever lyrics, not so much when Bragg went strictly political but when he told stories of the down and out and their relationships to politics, marriage and families. The music was mostly acoustic and electric guitars with strategic uses of horns, violins, percussion and backing vocals. It's another artist this week where it was the first dive (except "Mermaid Avenue") into their music. This is a solid album and motivates me to selectively seek out more Billy Bragg.

"Unhalfbricking" is the third studio album by English folk rock band Fairport Convention. This is considered a transitional album moving away from American influences towards more traditional English folk songs. The album features several Bob Dylan songs, some not yet released from his Basement Tapes sessions, a traditional song and songs written by bandmembers Sandy Denny (lead vocals) and Richard Thompson (guitars, dulcimer, organ). The album was also released two months after drummer Martin Lamble had died in a car accident. Other bandmembers include Ashley Hutchings (bass) and Simon Nicol (guitars). Commercially, the album reached #12 in the UK and was critically well-received. The album opens with a waltz in "Genesis Hall." It features acoustic and electric guitars and the wonderful voice of Sandy Denny. It's a song about bigotry and the song title is a nickname of the former Bell Hotel in Drury Lane which was a squat. The band brings in the fiddle, dulcimer and triangle for the rollicking "Si Tu Dois Partir." It's a song with French lyrics covering Bob Dylan's "If You Got to Go, Go Now." The traditional "A Sailor's Life" starts with Denny singing and light guitars sounding like the Doors "The End." Very pyschedelic. The song builds with the drums and the second half of the 11-minute long song is guitar jam with Thompson and Nicol. The highlight of the album has to be "Who Knows Where Times Goes." It's a Sandy Denny-written song and features her spectacular vocals. A song about the passing of time and accepting who she is. The intro of "Percy's Song" is sung a capella. Acoustic guitar and drums. Great backing vocals which had me humming and singing. It's another Bob Dylan song about a friend involved in a car accident who wrongly goes to jail. There is a lot to like about this album: The voice of Sandy Denny. The guitar interplay of Thompson and Nicol. The backing vocals. There's several musical styles I heard including folk, rock, pyschedelic and some form of country rock (before there was such a style). This album and their next album "Liege & Lief" are high recommendations and worth a listen.

"Pacific Ocean Blue" is the only studio album by American musician and co-founder of the Beach Boys Dennis Wilson. The album was recorded in the Beach Boys' own Brother Studios. Dennis played the majority of the instruments but also had help from a host of others including Carli Muñoz, Carl Wilson and Hal Blaine. The album was produced by Dennis and Gregg Jakobson. It didn't do well commercially hitting #96 in the US but was warmly received critically especially with legacy reviews. The album opens with the first single "River Song." Piano and drums. Vocal harmonies and a gospel-like choir giving this song a spiritual feeling. Dennis' voice is rougher as he needs to get out of LA. "Friday Night" has a dramatic open with piano and synths. An edgy guitar. "Let's rock and roll, it's good for my soul." "Thoughts of You" is a piano/synth-ballad. It's a very tender song as he misses someone. A moment of chaos with people talking and then ends with a dreamy synth fade. "Time" begins the second side with a piano and a mournful voice as Wilson needs to find love and go home. "You and I" changes the pace with a bossa nova beat and Beach Boy harmonies. A jazzy guitar. It's dreamy yet loungey. "Farewell My Friend" may be the highlight of the album. Low piano keys, synth noises. Wilson's voice sounds exhausted as he's saying goodbye to a friend. It's both dreamy and sad. This album covers a wide range of emotions from optimistic to dark to sad and mournful. Wilson's rugged voice works really well on the more mournful and sad songs. There are areas of the Beach Boys and those totally Wilson. Overall, a very good album and one I will listen to again.

"Fulfillingness' First Finale" is the 17th studio album by American singer-songwriter, musician and record producer Stevie Wonder. This album has a more reflective and somber tone than the social consciousness of his previous album "Innervisions." It was also the fourth of five albums considered Wonder's "classic period." The album hit #1 on the US charts and won the 1975 Grammy for album of the year. The album opens with "Smile Please." It's easy and smooth with congas and bongos. A synth melody and Stevie's gentle, soulful voice. A catchy chorus of back and forth vocals between Wonder and Deniece Williams. Smile Everyday! The funk gets going on "Boogie on Reggae Woman." A stew of instruments with the highlight being Wonder on the Moog bass. A harmonica solo too. The one political song "You Haven't Done Nothin'" adds the funk as well. Criticism of the Nixon administration. A clavinet-driven melody. Horns added. The Jackson 5 on backing vocals ending repeating "do-da-wop." Alright! Backing vocals are also prominently featured in "It Ain't No Use." The song starts out easy listening with the synth and then kicks in with vocals of Lani Groves, Deniece Williams and Minnie Ripperton. Very souful. This album is laid back (almost understated), funky, smooth, soulful and even jazzy at times. The lyrics are spiritual, self-relective and political in one case. The high points (previous songs mentioned) are among the best Stevie but the album is also solid throughout. I've completed all five albums of the "Wonder" classic period in this challenge. They are all wonderful (no pun intended) and well worth repeated listens.

"Justified" is the debut album by American singer-songwriter Justin Timberlake. R&B, dance-pop, funk and soul music. Yep. The album was written and recorded in six weeks and at various studios when NSYNC was on hiatus. It was primarily produced by The Neptunes (Pharrell Williams and Chad Hugo) and Timbaland and had guest appearances including Janet Jackson, Clipse and Bubba Sparxx. There were generally positive reviews with Timberlake noted as succeeding as a much more mature R&B artist than his pop music background with NSYNC. Commercially, it #1 in UK and #2 in the US. Pharrell Williams begins "Señorita" by introducing Justin Timberlake. Spanish-oriented and grinding R&B with horns and a cowbell. Williams and Timberlake are pretty much co-lead singers. It's a fun song and gives a Stevie Wonder vibe. The first single "Like I Love You" has a strumming guitar and funky rhythm. Very catchy. This time it reminds me of Michael Jackson. Clipse gives a rapping guest appearance at the end. "Cry Me a River" continues the funk. There's a beatbox rhythm, Arabian-inspired riffs, sounds of water, synths and the wind, backing vocals and chants. Timbaland produced, a lot going on and another very catchy song. JT goes more disco in "Rock Your Body." It's bouncey, dancey with great backing vocals by Vanessa Marquez. Speaking of guests, Janet Jackson makes an appearance on "(And She Said) Take Me Now." More disco and funk. Timberlake goes from whispering to falsetto to layered vocals with Janet. Another very Michael Jackson-esque song. The best songs on this album are the upbeat dancey, R&B and disco ones. Those have catchy melodies and beats. Great production as one would expect. All the guest appearances work. Timberlake has a great voice and seems to work within any style. There's a lot of Stevie Wonder and Michael Jackson vibes going on. I thought some of slower and more mushy songs didn't work and the album length could have been trimmed. But, overall a very good pop album.

"Solid Air" is the fourth studio by Scottish singer-songwriter John Martyn. Folk rock, folk jazz and folk pyschedelic. Yes, yes and yes. This album was recorded over eight days with contributions by bassist Danny Thompson and members of Fairport Convention. Martyn sang lead vocals and played acoustic and electric guitars and keyboards. The album was produced by Martyn and John Wood. It also received favorable reviews. The self-titled "Solid Air" begins with an acoustic guitar, bass and piano. Martyn's haunting, longing vocals come in. Piercing vibraphone keys and a Tony Coe sax solo at the end. A song that was dedicated to Nick Drake who shortly die after the albums'release. "Over the Hill" is more uplifting with an acoustic guitar strumming and those contributions with Richard Thompson on mandolin, Simon Nicol on auto harp and Sue Draheim on the violin. It's folksy rock. "Don't Want to Know" has slow and fast spots and fits in both the folk blues and jazz genres. A lone acoustic guitar with a hand also hitting the side of guitar is the instrument of choice in "May You Never." This is straight-forward folk and Martyn with his voice really reminds me of Cat Stephens. The collected band actually gets the rock going in "The Man in the Station." It's another beautiful song. This is an excellent album. It's kind of a rare combination of equal parts folk, blues, jazz and rock. And even one funky song. Martyn's voice is superb and very understated. The one time he's not, on the closer "The Easy Blues," he does his best Tom Waits. There's not a weak song here and no filler. This is an album that mostly everyone should enjoy.

"Calenture" is the fourth studio album by Australian rock band the Triffids. Rock and folk rock are the listed genres. OK. The album titled refers to a fever suffered by sailors during long hot voyages and the album had themes of insanity, deception and rootlessness. It was produced by Gil Noton, the Triffids and Craig Leon on two songs after which he was fired. The Triffids on this album were David McCombs (vocals, guitar, string arrangements), Jill Birt (keyboards), Martyn P. Casey (bass), Graham Lee (guitar, autoharp), Alsy McDonald (drums, backing vocals) and Robert McComb (guitar, backing vocals, violin). The album opens with the first single "Bury Me Deep in Love." Acoustic guitar, electric guitar strikes and strings. Dramatic. McCombs and the backing vocals are strong. An air of soulfulness. Nature imagery to falling in love. A gorgeous song. The "Tricks of the Light" is the second single and a dreamy keyboard drives the melody. He's missing a girl and thinks he saw her. "Holy Water" has a drum machine, piano and drums. It's poppy and uplifting. Very high production by Craig Leon. Dreaming of swimming with a girl in the holy water. "Jerdacuttup Man" is the most traditional folk song on the album with a violin, acoustic guitar and chanting. A doom man references dead bodies in a British museum. By the way, Jerdacuttup is a small Australian town. I have to admit I never heard of the Triffids during the 1980's so this was a first listen of their music for me. This was a really solid album. The music is along the lines of pop-rock and rock. Some songs are melancholy, somber and haunting while others are hopeful and uplifting. McCombs has a strong voice. Overall, it's a really a nice sounding album with some lyrical depth and worth a listen.

"Time Out of Mind" is the 30th studio album by American singer-songwriter Bob Dylan. It was his first original material since 1990's "Under the Red Sky." Dylan wanted the sound to be influenced by early blues musicians and told producer Daniel Lanois to listen to Charly Patton, Little Walter and Little Willie John. The album was recorded at Criteria in Miami where both Dylan and Lanois brought in their own musicians, a total of 12 contributed to the album, in addition to Dylan and Lanois. The album received mostly positive reviews and for many critics, "marked an artistic comeback after Dylan appeared to struggle with his musicial identity through the 1980's." It did well commercially hitting #10 on both the US and UK charts and won the 1998 Grammy for Album of the Year. The album opens with "Lovesick." A repeating warped guitar, haunted organ in the background and feint drums....very sparse. The desolate lyrics match the music with a theme of love lost. "Standing in the Doorway" is a slow tempo ballad. Dual, layered slide guitars give this a country feel. Really, a nice melody. Dylan's raspy, tender and yearning vocals lament on the death of his happiness and more love lost. The first single, "Not Dark Yet," is another slow beat and sparse song. His vocals are once again yearning. The organ gives this song spiritual vibe. Dylan explores his own mortality. "Cold Irons Bound" is a little more of a bluesy grind with harder edged guitars and drums. A distorted organ and buried, echoing vocals. A man is struggling with his sin and pride and trying to escape his cold irons bound. The music on this album is slow, plodding, grinding, subdued, sparse but at times spiritual. Dylan and the musicians did a fine job succeeding in capturing that early blues' vibe. The vocals are rapsy and mostly longing. The lyrics, really the heart of the album, are melancholic, searching and reflective with a lots of lost love. It is a compelling listen if a long one. An excellent album.

"Veckatimist" is the third studio album by American rock band Grizzly Bear. There are a lot of genres describing this album including psychedelic folk, indie folk, chamber pop, indie rock, pyschedelic pop and baroque. Wow! The album was produced by bassist and multi-instrumentalist Chris Taylor. The other bandmembers are Daniel Rossen (vocals, guitar, keyboards and string arrangements), Ed Droste (vocals, guitar, keyboards) and Christopher Bear (drums). The album had wide-spread critical acclaim for the band's large lead forward and its "genre blending, musical complexity and experimentation." Commercially, the album did very well reaching #8 in the US and #24 in the UK. By the way, the album was named after a small island in Dukes County, Massachusetts. A strumming anxious guitar, creeping bass and gentle drums open "Southern Point." The pace picks up with swirling keys, synth and tambourine. Strings eventually added. Very dramatic. Rossen singing almost in a whisper. Droste counterpoints in backing vocals. He's still loving someone who broke it off with him. Loud piano keys and the "Ohh-Ohh-Ohh" chorus begin the first single "Two Weeks." Droste in lead vocals. The backing chorus carries this song. He's wanting a partner to commit. A deep bass and echoing drums and we're off with "Cheerleader." Droste whispering and singing in falsetto. Great backing vocals again. Putting rules on a relationship. A beautiful song. "Ready, Able" changes things up with a fast rolling anxious beat. Distorted key strokes. Some swirling keys. Droste with subdued vocals wanting tell someone he's cheating on them. The other single is "While You Wait for the Others." A slow beginning with bass drums and guitar slashes. The song builds and slows down. Multiple harmonies...very Beach Boys-esque. This is a beautiful sounding album. It's very detailed with the choral and instrumental arrangements. I'd say the tremendous lead and backing vocals carry the songs but the placement of the instruments is so vital to the overall sound. The music is slow, dramatic, dreamy, stark and sparse. The strings add emotion. Nothing is out of place here. This album demands repeated listens which are very rewarding. A high recommendation.

"Want One" is the third studio album by Canadian-American singer-songwriter Rufus Wainwright. Pop, baroque pop and rock. Yes, they all work. This album is the first of what was intended to be a double album. The critical reaction was positive and the album won the award for Outstanding Music Artist at the 15th GLAAD Music Awards and was nominated for the 2004 Shortlist Music Prize. Commercially, the album reached #60 on the US charts. The first song and second single "Oh What a World" opens with a choir of harmonies. A tuba and Wainwright's vocals come in. The song builds as the harmonies come back as well as a full orchestra. He's observing the world around him. The first single "I Don't Know What It Is" is another song that builds from piano, strings and a clickety beat to a full orchestra. It reminded me of paisley pop and was a song Wainwright wrote after attending a Strokes concert and about searching but not knowing what you're searching for. "Go or Go Ahead" begins slow with strings and soft vocals and explodes into a rockin' song. This sounded a lot like Radiohead. There's a lot of mythological references as Wainwright faces drug addiction and the person he's become. It's my favorite song on the album. "Vibrate" is a simple song. Strings, piano and a flute as Wainwright is falling for his drug dealer and will leave the phone on vibrate for him. The album ends with a more melancholy ballad in "Dinner at Eight." Piano and string accompaniment to a song where he describes inter-familial fighting. A very sad and personal way to close it out. This album has well constructed songs. There's a variety of approaches/genres including pop, baroque pop, rock, ballads and even over-the-top musical-esque songs. The songs can be simple or more intricate. The lead vocals are loud and clear. The production is very good especially the choral and vocal arrangements. I liked this album a lot more than the companion "Want Two" which I felt went too "all over the place." This album does too but I found it to work better. It's worth listening to especially the singles and others mentioned.

"Ghosteen" is the 17th studio album by Australian rock band Nick Cave and the Bad Seeds. It is a double album, the first from the band since 2004 and the final part (album) of a trilogy. The album was written in the aftermath of the death of Cave's son, Arthur, in 2015 and the grief from that is at the focal point of the lyrics. Speaking of lyrics, they are a deviation from Cave's usual narrative-based style and explore themes of loss, death and existentialism, empathy and optimism relying heavily on imagery. The music is ambient and electronic with extensive use of synthesizers and piano. Critically, the album had wide-spread acclaim and, commercially, hit #4 in the UK and #108 in the US. An ambient synth and organ keys open "Spinning Song." Cave's deep baritone comes in and eventually a background chorus and strings. He tells the story of a king dying but his feathers will eventually spin to the sky and peace will come. The lyrics in all these songs appear to be imagery to his dealing with his son's death. Electronic pounding followed by piano keys and a background synth begin "Waiting for You." Cave's painfully emotional vocals are the highlight of this song. Christian imagery and the return of Jesus is used as he dscribes his wife and his emotional state and waiting for their son. "Ghosteen Speaks" continues his mourning with some great lyrics..."Nothing is something. Need to forget to remember." His friends are besides him. A Rush "2112"-like synth intro goes into into a lush string sympathy. The 14-minute epic "Hollywood" closes the album. A repetitive bassline and an ambient, circular synth loop carry the song. Cave is near the end as he is going to go to the hills and wait for the end the come. He then tells the story of Kisa who seeks help after the death of her child and discovers that no one is untouched by loss and she is not alone in her grief. Cave sings this part in a falsetto. This is a haunting, moving, compelling and beautiful album. Cave uses abstract imagery (burning horses, Jesus, sun, rain, snow and stars) to describe his grief and feelings. The ambient music is sparse with synths, a piano, strings and vocal choruses yet very effective with its tone. Cave's vocals are emotionally charged and drenched. Cave never really completely finds the answers for dealing with his grief other than everyone has gone through grief and loss...he is not alone. A superb album.

"Oar" is the only studio album by American singer-songwriter Alexander "Skip" Spence. Pyschedelic folk, folk rock and pyschedelic rock are the listed genres. They all fit. The album was recorded after Spence had spent six months in Bellevue hospital for attacking Moby Grape bandmates Don Stevenson and Jerry Miller with a fire axe. Spence sings, plays all the instruments and self-produced the album. One critic described the album as "one of the most harrowing documents of pain and confusion ever made." "Little Hands" opens with an acoustic and electric guitar. A very slow pace and a clapping beat. Spence's vocals are muffled as he compares children clapping to peace. Spence gets his falsetto out in "War in Peace." This is pyschedelic rock with some great guitar. One of the better songs on the album. "Book of Moses" has a gritty, country blues vibe. The percussion sounds like he's pounding a hammer. The nine-minute "Grey/Afro" closes the album. An eerie electric guitar. Spence is whispering. A really weird drum beat. There's nary a melody; it's all beats and hypnotic. This is a slow, stark and somewhat minimalist album. Layered guitars. Spence's voice goes from normal to deep to falsetto. He also mumbles a lot. Most of the songs are very short with minimal lyrics. I have to be honest; I didn't really try after awhile to understand what he was singing about. I didn't dislike this album but can't say I really liked it either. It is a compelling listen for its background. If you're up somewhat of a challenging listen, this album is for you.

"Destroy Rock & Roll" is the first and only album by Scottish record producer Mylo (Myles MacInnes). The listed genres are house and electro pop. That'll work. The album notably samples many 1970 and 1980 soft rock samples. Commercially, it reached #26 in the UK. "Valley of the Dolls" opens the album with keyboards, a synth background and a dance beat. I believe the melody and vocals sample the Sandpipers' "Beyond the Valley of the Dolls." This is definitely easy listening. The first single "Muscle Cars" also has a dance beat and a wobbly synth. The beats picks up to this catchy song. "Drop the Pressure" has a bouncey beat and a very 80's sounding beat. The entirety of the lyrics is a vocoder recording of Mylo saying "Motherfucker's gonna drop the pressure." Somehow, it works. "In My Arms" layers samples of Kim Carnes' "Better Davis Eyes" and Boy Meets Girl's "Waiting for a Star to Fall." The most interesting sampling was done in "Destroy Rock & Roll." It's a sample from a preacher of the New Age organization Church Universal and Triumphant who denounces essentially all pop artists from 1984 including Cindy Looper and Patt Smyth and Scandal. I almost wanted to put on "The Warrior." The music on this album is soft, easy, very pop sounding and also catchy. There's lots of synths and Mylo keeps the dance beats simple and different between songs. Most of these songs are very lightweight and rock & roll has no fear of being destroyed. I thought the last few songs were the most interesting and sounded more modern like Daft Punk. Overall, a fun listen once through.

"Duck Stab/Buster & Glen" is the fifth studio album by American art rock group the Residents. Experimental rock. Yeah, I'd say. "Duck Stab!" was originally released as an EP. It sold out quickly and was re-released with the B-side "Buster & Glen," which was intended to follow up "Duck Stab!" A decent critic description of their music is "songs as nursery rhymes that blend the sinister with simple." A pennywhistle and a voice which sounds like the singer just engulfed helium opens "Constantinople." The pace picks up with horns. It's musically busy and sounds like a skit. "Sinister Exaggerator" darkens the tone with synth keys, a beat and foreboding, exaggerated strings. The narrator is telling someone that he is basically a piece of shit. The lyrics include Elmer Fudd, oyster beds and saliva. A distorted gazzo or maybe a violin begins "Bach Is Dead." The vocals repeat "Bach Is Dead." It's a song about musical elitists and that there is other good music out there. "Lizard Lady" has piercing keys, muffled vocals and a woman screaming. Oh, it's about a woman getting kidnapped by a lizard. "Weight-Lifting Lulu" is a chilling song musically and lyrically as the singer describes a man who loves Lulu's charm but not her weight-lifting body. The man gives a gun to the grandfather who shoots her. Didn't see that coming. The best way to describe this music is the sound of distorted notes of instruments which carry the melody mixed with a background of 50's/60's cartoon music and nonsensical lyrics which sometimes might have a deeper meaning. And, yes, somehow I liked this album because of all this. I think their favorite instrument might be the gazoo. Their influence is undeniable for bands such as Primus. The Residents have 60 albums overall. I wouldn't recommend trying to listen to them all but you might get a kick out of some of the songs on this album or you might feel like throwing your shoe through the window.

"Tical" is the debut album by American rapper and Wu-Tang member Method Man. It was the first Wu-Tang solo album and was produced by Wu-Tang member RZA and noted for its dark, murky and rugged sound. The lyrical themes include cannabis smoking, project love and traditional hard core rap subjects. The album title is an acronym for taking into consideration all lives. The album did well commercially hitting #4 in the US. The title track "Tical" opens the album with karate chops and a TV karate- movie voice. It's got a chill groove and pretty much is about smoking pot. The first single "Bring the Pain" continues the chill groove. Method Man comes out hard and fast. A constant beat. He'll kick your ass! Blue Rasberry is featured as she sings to Gloria Gaynor's "I Will Survive" song melody in "Release Yo' Delf." This is overlayed with Method Man rapping to a Herb Alpert song melody. Method Man is strong and will survive in the industry. A whole group is involved in "Mr. Sandman." RZA, Carlton Fisk, Inspectah Deck, Street Life and Method Man strut their stuff while Blue Rasberry sings "Mr. Sandman" in the background. This album has an overall chill vibe similar to the hip hop of the time like Dre and Wu-Tang. There's clever rhymes and timely sampling. The lyrics are pretty standard hip hop: don't mess with him, he's a bad ass and will survive. Overall, one of the several strong solo albums from the Wu-Tang clan.

"(What's the Story) Morning Glory?" is the second album by English rock band Oasis. The songs were focused "in more balladry and emphasis in "huge" choruses with string arrangements and varied instrumentation than their more "rugged" debut "Definitely, Maybe."" The album was produced by Owen Morris and the group's lead guitarist and chief writer Noel Gallagher. The album did very well commercially hitting #1 in the UK and #4 in the US and propelled the band from a crossover indie act to international rock stardom. The album had an initial lukewarm critical reception but is now considered a seminal record in Britpop and the 90's in general. The band starts out rockin' with "Hello." A wah-wah guitar and then layered guitars. Lead singer Liam Gallagher comes out very demonstrative with ragged vocals in "Roll With It." Guitar slashes, acoustic guitar and melodic guitars. It's about being oneself. We see the first use of strings in the massive hit "Wonderall." For me this is the first song I think when you say Oasis. Liam said that song is about an imaginary friend who's going to save you from yourself. Liam also said that their fifth single "Don't Look Back in Anger" is more about looking forward than recalling the past. Beatle-esque earnest piano keys and an electric guitar carrying the melody. Probably Noel's best guitar solo in the middle. Helicopter noises and loud guitar noises open "Morning Glory." No messin' around here, this is the hardest drivin' song on the album. Layered guitars creating a whirling storm. Liam's vocals pressing. Probably my favorite song on the album as well. The album closes with their most ballad of ballads in "Champagne Supervova." Ocean wave sounds open. Paul Weller contributes. For all the ballad talk, it still has an edgy guitar along with Liam's strung-out vocals as he asks "where were you when we were getting high." Another album highlight. This album has melodic song after melodic song. Noel's guitar shines. The accompanied strings are selectively added. For all the mention of "soft" songs, there are a number of rockers too. At start of the album, it's hit after hit, with all of them still getting heavy airplay (at least to the stations I listen to). This album sounded very good today. It has very well constructed songs, is an excellent album and is no surprise that they became a massive band.

"Music Has the Right to Children" is the debut album by Scottish electronic duo Boards of Canada. The music is described as a "distinctive style of electronica featuring vintage synthesizers, degraded analogue production, found sounds and samples and hip hop-inspired rhythms." It was self-produced by brothers Michael Sandison and Marcus Eoin. The album received critical acclaim and is considered a landmark work in electronica music. Layered synths open the album in the short "Wildlife Analysis" which transitions to "An Eagle in Your Mind." Oscillating synths and a electronic drum beat. Samples of a deep voice talking and of Sesame Street's "I Love You." A downtempo vibe. "Turquoise Hexagon Sun" lays down a hip hop beat with xylophone-sounding synth keys and people talking and laughing in the background. The beat keeps it steady and hypnotic. Deep and dark synth keys open "Roygbiv." Backed by a constant beat, the song changes to more happy-sounding. This is almost danceable....almost. Wobbly synths and an electronic bass and drumbeats anchor "Aquarius." A repeating sample of Sesame Street's "O is for Orange" with children laughing and a woman counting numbers sometimes randomly. This is a unique-sounding album. Dreamy, ambient, downtempo, hypnotic. The songs tend to lay down a beat and/or synth line and build with various sounds, noises and samples. They do capture a retro 70's sound with the synths. I don't think this album is for everyone but a must listen for anyone who likes electronic music. The changes between songs kept it interesting. I don't know if I've heard an album quite like it (on the good side).

"Cross (stylized as †)" is the debut studio album by French electronic duo Justice. According to the duo, Gaspard Augé and Xavier de Rosnay who also self-produced the album, the album was composed as an "opera-disco" album. It contains many samples and microsamples, exceeding 400 including ones from Prince, Britney Spears and Madonna. The album was well-received critically and, commercially, hit #11 on the French charts and #1 on both the US and UK dance charts. The second single "D.A.N.C.E." is a tribute to Michael Jackson. A female is repeating the word "Dance" and "Do the dance". The song is more in the pop vein as the melody and bass sound like various Michael Jsckson songs. It's very catchy. "DVNO" features echoing vocals from Mehdi Pinson. It's funky and has a hard pounding beat. A synth-drum melody and a bass jam outro. "Stress" has fast, anxious, straining sample of David Share's "Night on Disco Mountain" from "Saturday Night Fever." It borders on being annoying. The drum beat is in the background and then picks up. An interesting bell outro. Static noise opens the first single "Waters of Nazareth." Synth keys and a disco beat pick up the pace. A decent song. This album sounds like the "Saturday Night Fever" soundtrack on steroids. It's also in debt to the music of Daft Punk. At the same time, almost every song that I heard emanating from the EDM area (Perry's) this weekend at Lollapalooza sounded somewhat like this album. So, it has been made a big impact on today's EDM scene. All songs have an underlying dance or disco beat. The variety of synths and sounds (mechanical, video game, layers, voices) lends to the variety between songs. I liked this album quite a bit. If you're an EDM, dance or disco fan, you'll like this album too.

"All Directions" is the 16th album by American vocal group the Temptations. Soul, funk and pyschedelic soul. Yes sir. The album was produced by Norman Whitfield and the first without Eddie Kendricks, the band's falsetto singer. Commercially, it hit #2 in the US becoming their most successful non-collaborative album. It was critically well received with many considering it their best 1970's album. The album opens with "Funky Music Sho Nuff Turns Me On." It's a cover of the Edwin Starr song and what sounds like a live recording. They absolutely get the funk going. They continue the funk on "Run Charle Run." Piano, bass, bongos and pyschedelic guitar. A serious song telling a story of the white flight from cities. A thumping bass, the top hat and wah-wah guitar begin the epic "Papa Was a Rollin' Stone." It's a cover of the Undisputed Truth's song and one they resisted recording for a few reasons including the day mentioned that papa died on(September 3) which supposedly was the day one of the members' dad actually died (proven false). I am glad they did. A total jam with all five members performing ensemble style. A story about a papa who never worked a day in his life. The second side has two beautiful ballad-like songs. They cover Marvin Gaye & Tammi Terrell's "I Ain't Got Nothin.'" Piano, strings and more in the do-wop style. "The First Time I Ever (I Saw Your Face)" continues the string addition. A gentle song with a gospel vibe. Great tenor singing. The first side of this album is harder with a more serious tone. The second side is more gentle. Great vocals and harmonies. Tremendous production especially the first side. Funky, pyschedelic and soulful. Not a bad song on the album. A solid recommendation.

"Trout Mask Replica" is the third studio album by American band Captain Beefheart & His Magic Band. Stating the obvious, this double-sided album is classified as experimental combining elements of R&B, garage rock and blues with fee jazz and avant-garde composition. This album is also noted for its unconventional musical style (polyrhythmic, multi-octave vocals and ploytonality) and as one of the most challenging albums of the 20th century. I'll say! The album was produced by Frank Zappa. Captain Beefheart is Don Van Vilet and plays woodwind and brass instruments and is the lead vocalist. His Magic Band includes Bill "Zoot Horn Rollo" Harkwood (guitar), Jeff "Antennae Jimmy Semens" Cotton (guitar), Mark "Rockette Morton" Boston (bass), John "Drumbo" French (drums) and Victor "The Mascara Snake" Hayden (bass clarinet). The album did poor commercially in the US but hit #21 in the UK. Critically, the album is considered Beefheart's masterpiece and in 2010, it was also put into the National Recording Registry for its artistic significance. "Frownland" opens the album. What sounds like bluesy, out of tune guitars and a weird drum beat. Beefheart singing and it appears like he's singing to an entirely different song. I think he's going on about the counterculture and commenting on the normal world. "Moonlight on Vermont" has a grinding rhythm. Screeching, bluesy dual guitars. Guttural vocals. Hey, I might getting into this. "Pachuco Cadaver" brings the funk and adds a groove. This song actually makes musical sense. Beefheart is talking about a woman and a car. "Sweet Sweet Bulbs" adds a prominent bass in a blues-soaked song. Interesting guitars and dare I say a hypnotic song. Swirling guitars give "When Big Joan Sets Up" a rockin' vibe. There's the bass clarinet. The song stops and the pace picks up. They've entered Grateful Dead territory. What the hell was this? Calling this weird is an understatement. High-pitched dscordant, layered guitars with weird notes. Beefheart singing what appears to be randomly. Some of these songs make the Grateful Dead's "Dark Star" sound like the most melodic of songs. Theres a bluesy undertow. The album gets more jazzy as it progresses and I started to find the beauty in chaos somehow. Beefheart's lyrics are trippy but I know there's a deeper meaning in some of these songs. This album was obviously influential to various artists like Tom Waits. If you willing to dive off a musical cliff, I can't think of a better album to start it with.

"1977" is the debut studio album by Northern Irish rock band Ash. Brit pop, power pop and garage rock were the genres this album was categorized into drawing comparisons to the Buzzcocks, Sonic Youth and Dinosaur Jr. Yeah, they sound like some other bands as well. The album was produced By Owen Morris. The band members included TIm Wheeler (guitar, vocals, string arrangements), Mark Hamilton (bass) and Rick McMurray (drums). The album received generally positive reviews with critics liking the "catchy" nature of their songs. Commercially, the album debuted at #1 in the UK. "Lose Control" opens with the the sound of a Star Wars' TIE fighter. Hey, i is named "1977." An escalating guitar and punk driven rhythm section. I would call this music urgent. Soft vocals pleading for a girl to cheat on her boyfriend. The fourth single "Goldfinger" has a more melodic guitar. The music sounds very 1990's alt-indie music. Weezer came to mind. "Girl From Mars" starts with an acoustic guitar and then the band kicks in. A similar punk-pop song as he reminisces about a girl. The first single "Kung Fu" is a tribute to Jackie Chan. A punk-pop open. Has a fast-slow-slow thing goin' on. Very Green Day-ish. They slow it down a bit in "Oh Yeah." Strings are added making it one of two songs I would put in the Brit pop category. The song builds. Very good production. "Angel Interception" combines punk and doo-wop. A nice mesh up. This is a very enjoyable album. I wouldn't say it's totally derivative but you do hear influences of Green Day, Ride, Black Sabbath. Oasis, Sonic Youth and Weezer. It does sound of its 1990's time frame and more like the American alt-indie at the time than Brit pop. I did like the one part of "Innocent Smile" where they went Sonic Youth with guitar distortion. I would have liked to hear more of that. Overall, a decent album.

"The Slim Shady LP" is the second studio album by American Rapper Eminem. West Coast hip hop, G-funk and horrocore are the genres. That works for me. The album was produced Dr. Dre, Eminem and the Bass Brothers. The lyrics were written from the perspective of Eminem's alter ego. The album is known for its cartoonist depictions of violence and heavy use of profanity. Commercially, it hit #2 in the US and #10 in the UK and, critically, was well received. The album opens with "Public Service Announcement" and a guy sarcastically stating a disclaimer discussing the album's lyrical content. This goes right into the first single "My Name Is." A hip hop beat with Eminem repeating "My name is" and starting the whole horrorcore lyrical theme describing his background including "My Mom does more drugs than I do." Dr Dre and Eninem are the rappers in "Guest Conscience." They are the vouces of an angel and devil to a series of characters who are about to committ a variety of crimes. It based on the Animal House scene where Pinto is debating what to do with the passed out teenager. Well, in the song a gunshot ends the song, sllightly different than what Pinto did. '"97 Bonnie & Clyde" has a hip hop beat and chill melody. A chilling tale of Eminem convincing his daughter to help bury the body of her Mother and his wife. Interesting song. The second single "Role Model" has eerie music. He asks why do you want me to be your role model. He attempted to kill himself. He was on the Jerry Springer show. And, he does drugs. This album is all about Eminem, his lyrics and his rapping. The lyrics are clever and way over-the-top. They're riding way over the edge of anything decent and appropriate but that's what he wants. His rhymes and rapping are fantastic. The music is defintely West Coast hip hop...very chill. A classic hip hop album.

"Rid of Me" is the second album by English singer-songwriter PJ Harvey. The album marked a departure from her debut album "Dry," being more raw and aggressive. Many attribute that to Steve Albini, who produced most of the songs. Harvey's trio included herself (guitar, vocals), Rob Ellis (drums, backing vocals) and Steve Vaughan (bass). Commercially, the album reached #3 in the UK and #158 in the US. It was critically very well-received and is frequently considered one of the best albums if the 90's. Slow guitar strumming opens "Rid of Me." Harvey is singing quietly. The song and vocals then explode and goes back quiet. It's a song influenced by one of her relationships coming to an end. Lyrics which don't mess around: "Lick my legs I'm on fire. Lick my legs of desire." A Western-style guitar begins "50ft Queenie." The drums and bass kick in quick. The vocals are full throttled and screaming. The music sounding like "X" at their best. I think she's saying that woman's parts (sexual) are no less formidable then men's. More anxious-sounding guitar strumming kicks off "Man Size." Harvey whispering again. The song builds with a rockin' guitar. She's assuming the persona of a very masculine man. The album closes with "Ecstasy." A bluesy-distorted guitar. A slower ,almost chugging and grungy rhythm section. The vocals are dreamy...is it drugs? sexual ecstasy?..it must be up to us. The vocals, lyrics and music are raw, unhinged and emotional. There's a lot of the soft-loud-soft dynamic. And when the band kicks in they really rock. Most songs build. The vocals and lyrics are sexual charged...sexual frustration, desire and attraction. The music matches the vocals. This is a fantastic album. It's unquestionably one of the best album of the 90's for me.

"Forever Changes" is the third studio album by American rock band Love. The album's sound embraced subtler folk and baroque pop-oriented songs based around acoustic guitars and orchestral arrangements...a perfect description. Primary songwriter Arthur Lee (guitarists, vocalist) explored dark themes alluding to mortality and growing disillusionment with the era's counterculture. It was the last album with the band's original members who also included Bryan MacLean (guitar, vocals), Johnny Echols (guitar), Ken Forsi (bass) and Michael Stuart-Ware (drums, percussion). The album was a commercial disappointment hitting #154 in the US and #24 in the UK. It was critically very well-received and, in 2008, was inducted into the National Recording Registry for its artistic significance. The album opens with "Alone Again or." A song written and sung by Bryan MacLean and about waiting for a girlfriend. Acoustic guitar with strings and percussion. Lee actually joins in for dual lead singers. Horns come in and along with the strings, the song ends majestically. "Andmoregain" is a ballad and anchored by Lee's high tenor. Guitar accompanied with drums and strings. Lee takes a dark look at himself. "The Red Telephone" is more dreamy and pyschedelic. A harpsichord is added to the guitar and strings. Lee lyrics are very paranoid as he watches people die. It's no surprise this song was compared to Syd Barrett-era Pink Floyd. A charging acoustic guitar and bass open "Live and Let Live." Vocal harmonization. A pyschedelic guitar solo. Lee looks at what the government has done to certain people's land rights. "You Set the Scene" closes the album as Lee looks at the ins and outs of daily life. Lee actually did think he was going to die and that this was his last song. A glorious ending with layered horns and strings. This album is a great mix of pop baroque and pyschedelic guitar. Maybe, the best. Lee's vocals and the harmonies are just fantastic. The horns and strings give this album a majestic sound. The music is counterposed by Lee's darker lyrics. The album gets better with repeated listens. An album everyone needs to hear.

"Juju" is the fourth album by British rock band Siouxsie and the Banshees. Post punk, gothic rock, art rock and pyschedelic rock are listed genres. The album was a return to more guitar-based music then the electronic bent of their previous album "Kaleidoscope." The band realized this was sort of a "concept album" as they were working on it since it really drew on the darker elements. The band members included Siouxsie Sioux (vocals, guitar), Steven Severin (bass), Budgie (drums, percussion) and John McGeoch (guitar). The album did well commercially reaching #1 in the UK and was a critical favorite, cited as a landmark of post punk. An eerie guitar and a prodding bass open their first single "Spellbound." The music kicks in with a great strumming acoustic guitar. Siouxsie's vocals are strong and forceful as she tells the story of child growing up to become a violent adult. The second single "Arabian Knight" has an echoing guitar and pounding drums. Siouxsie initially comes in softy. The pace ramps up as Siouxsie sings of the abuse of women in the Middle East. "Monitor" closes out Side A with some classic and urgent post punk guitar by McGeoch. The bass is forward in this fairly hypnotic song. The lyrics are prescient as they describe the idea of real violence seen in short circuit TV as entertainment. High-pitched guitar slashes highlight "Sin in My Heart." Bass forward. The guitars become layered and the pace picks up. The idea of the male as submissive. This is a great and chilling song. Creepy guitar notes and Siouxsie whispering open the the seven-minute closer "Voodoo Dolly." The drumming is almost tribal. Siouxsie gains momentum as she describes listening to that drum in your ear as the voodoo doll transfixes your fear. This music is haunting, dark, hypnotic and rocking. All the musicians are top notch equally contributing to these songs. The lyrics are dark as Siouxsie sings about serial killers, voodoo dolls, violence, abused women and women and men submissiveness. This album pretty much defines post punk, goth and especially the dark wave. This is a great, great album. I'm not sure the whole goth scene would have existed without this album.

"Sex Packets" is the debut studio album by American hip hop group Digital Underground. It is a concept album based on large pills which are in condom-size package and developed by the government to provide users a satisfied sexual experience in situations where such experiences would be counterproductive to the mission at hand. Oh, Boy! The album had positive reviews and did well commercially hitting #24 in the US and #59 in the UK. The second single "The Humpty Dance" opens the album. A funky hip hop beat. Shock G on the mic as he describes his sexual prowess despite his ugly looks. Some absolutely great rhymes in this song. "Gutfest '89" opens with a guy talking about a conference with a bunch of great bands and, of course, Digital Underground closing. The jazzy music starts with a quick hip hop beat. Large girls in cages fighting naked at Gutfest, y'all. "Freaks of the Industry" gets the bass going with a chill vibe. You can't go wrong sampling Diana Ross and Donna Summer. Well, maybe you can but they didn't. The first released song was "Doowutchyalike." It's a busy song with multiple rappers. There's horns, a groovy dance beat and scratching. For some reason, I thought of Bell Biv DeVoe. Do what you like. Be who you are. "Sex Packets" is smooth and jazzy. A nice job of sampling Prince. They describe, well, the sex packets being all over the town. This was a fun album. It is funny, has clever lyrics and carries that ridiculous concept through the album. The music is funky and jazzy at times. They make repetitive jokes about the sexual packets. There's nice use of sampling particularly Parliament and Prince. There's an overall chill vibe. This album is definitely worth going back for a listen.

"Lost Abortion Technician" is the third full length studio album by American rock band Butthole Surfers. The music is described as an experimental blend of punk rock, heavy metal and pyschedelia which employs elements of world beat rhythm, noise rock, progressive guitar and folk music. They could have just said noise rock and random weird stuff. The album was self-produced and recorded with an old 8-track tape machine in asmall rented house in Winterville, GA. The Butthole Surfers are Gibby Haynes ( lead vocals), Paul Leary (guitar), Jeff Pinkus (bass), King Coffey (drums) and Teresa Nervosa (drums). The album was critically well-received and, commercially, it hit #3 on the UK indie charts. The album opens with long silence and slow orchestrated music in "Sweet Leaf." A father and son are talking and ends with the father telling the kid to yell "Satan, Satan" at his Mom. The song then kicks into a warped guitar riff parodying Black Sabbath's "Sweet Leaf." The first semblance of a normal song comes six songs in with "Human Cannonball." It's bass forward with a hypnotic beat. The guitar initially sounds like a siren and kicks in with some feedback. This song does rock and reminded me of King Gizzard and the Lizard Wizard. Another decent song is the parody of speed metal in "The O-Man." It's weird, pounding speed metal. Gabby is singing like a cartoon character. This album ends just as bizarrely as it started. "22 Going 23" starts with a woman calling into a radio show and talking about getting sexually assaulted. Distorted guitar. A plodding bass. Idiosyncratic drums. The song now ends appropriately with cow's mooing. Of, course. The vocals and music can best be described as creepy, weird, demented and disturbing. I guess when I read that the band said that one of the benefits of recording in their own house was that they could take extended drug breaks that I shouldn't be surprised with what i heard. Well, mission accomplished in translating your drugs into mostly noncomprehensible music. There are areas where I appreciated the experimentalism and rock music but mostly I just heard "Hey, I'm weird and look what I'm doing and saying." After awhile, I had enough of this album even though it's only 32-minutes long. If you're on a self abusing musical bender, after listening to Captain Beefheart's "Trout Mask Replica" put this album on and you'll realize things can get worse.

"Dub Housing" is the second album by American rock band Pere Ubu. It is labeled as one of the most important post-punk recordings. The album title is allusion to the visual echoes of blocks of identical row houses in Baltimore reminiscent of the echoes and reverberation that characterize dub music. Dub is also a reference to Jehovah's Witnesses of which lead singer David Thomas was a member of. Other band members included Tom Herman (bass, guitar, organ), Tony Maimone (bass, guitar, piano), Allen Ravenstine (synthesizers, saxophone) and Scott Krauss (drums). Guitar strumming opens "Navvy." Thomas comes in with his high pitch vocals. This is very bass forward which drives the sound. The song builds. Very busy at the end. "I've got these arms & legs that flip-flop. I have desire." The synth and drums are pushed to the forefront of "On the Surface." It's driving and danceable. This sounds like a mixture of the Doors, Talking Heads and Modest Mouse. That's not bad. The band takes the traditional English sea shanty "Caligan's Mirror" on a ride. The song goes slow and fast. An eerie guitar. An groovy 60's sounding organ. The band sounds like they're having a lot of fun in "(Pa) Ubu Dance Party." Bluesy guitar. More of the driving rhythm section. Wave sounds in the background. The whole band singing it seems. I think Ween must have been in the room during the recording. Now, this is an experimental album to like. Thomas' vocals are frantic, screaming, talking and operatic. There's also a minimalism to the lyrics which are pretty much abstract. Expert musicianship throughout especially the bass and drums. I love that particular aspect of post-punk music. The music is very experimental but there's a feeling of humanity and joy as opposed to being cold and distant. This album gets better with repeated listens. If you're willing to risk to get a reward, this is good album to listen to.

"Hearts and Bones" is the sixth solo album by singer-songwriter Paul Simon. It was written and recorded following Simon & Garfunkel's "The Concert in Central Park" in 1981. There were a few songs previewed and intended for a new Simon & Garfunkel record, "Think Too Much." Simon thought those songs were a little too personal about his relationship with Carrie Fisher and should be on a solo album instead. Well, that ended that and there was not another Simon & Garfunkel album. The album had mixed reviews, mostly positive, and, commercially, hit #35 in the US and #34 in the UK. "Allergies" begins the album with a stark synth. The hand-clap percussion kicks in. A pop melody comes. This is very 80's sounding. Electric guitar and horns. He has allergies to women he loves. "Hearts and Bones" is softer with an acoustic guitar, percussion and even Simon's singing. Marimbas are used, maybe, hinting at where he would go on his next album. Simon looks back at doomed relationships. Simon stresses that dreams and expectations often exceed the real life in "Train in the Distance." A vibraphone changes the melody vibe as does a bluesy guitar in the background. Simon was inspired by a picture "René and Georgette Magritte with Their Dog After War" he saw in Joan Baez's living room to write a song of the same name. There's doo-wop backing vocals and strings are finally added. The album closer "The Late Great Johnny Ace" has Simon reflecting on his life in 1954, 1964 and 1980 as some big musical news happens. One happy, two sad..a very unique lyrical approach. Strings add to the emotion of the events. I really connected with this album after a few plays. It is very stark, personal and 80's sounding at times. But, you start to notice rhythmic hints of very he would go next with "Graceland." Not all the songs are downbeat; in fact a few are pretty meaningless omes which are fun. He changes the pace with strings and horns. I would not put this album at the top of Simon's discography but it has some good moments and worth a listen.

"Blood and Chocolate" is the 11th studio album by English singer-songwriter Elvis Costello and his band the Attractions. The recording of this album was troubled as the relationship between Costello and the Attractions had deteriorated during the recording of the previous album "King of America" to the point that Costello used another band. The album was recorded mainly live with monitors not headphones and with minimal takes and overdubs. It was to be Costello's last album with the Attractions for eight years. The tone of the songs was a response to the poor sales of "King of America and to the "growing indifference" of his record label, Columbia, to him as an artist. Commercially, the album hit #16 in the UK and #84 in the US. "Uncomplicated" opens with hard guitar slashes, tribal pounding drums and a guttural Costello voice screaming "Blood and Chocolate!" A swirling organ and spiraling, pyschedelic guitar. A song about love and/or lack of lobe in a relationship? Thumping drums and a wobbly organ bring in "Tokyo Storm Warning." Once again, Costello very upfront and assertive in the lyrics and vocals. This is a straight-up rocker. Costello described it as a thug's psychotic travelogue. Bad things happen as he travels from London to Paris to Buenos Aires. Costello's starts "I Want You" a capella. A creepy guitar and creepy vocals and lyrics as the narrator is in an obsessive and tormented relationship. The music mood gets more cheery in "Blue Chair." A piano-driven melody in this mostly pop song leftover over from the recordings of "King of America." Two guys are infatuated with the same woman as they learn the truth sitting in the blue chair. The album closes with another song from "King of America" in "Next Time Round." Costello singing a capella in the intro again as the bass-led band kicks in. A nice pop-rock guitar bridge. A guy's lover is dead (drugs?) and their roles will be reversed next time round. This album is one of Costello and the Attractions most rockin' especially excluding the songs from "King of America." Songs are guitar and organ driven. Costello's lyrics and vocals are assertive and aggressive as he explores bad, obsessive and end of relationships and death. Some might not put this album atop of the Costello best of list but I would put this atop my favorite Costello list. A strong recommended listen.

"Halcyon Digest" is the fifth studio album by American indie rock band Deerhunter. Psychedelic pop, deam pop, indie pop and noise pop. Yes, they all fit. According to lead singer and guitarist Bradford Cox, the album title is a reference to a collection of fond memories and even invented ones and the way we write/re-write memories to be what we want to remember. That's pretty much the overarching theme in a number of these songs. Other band members included Moses Archuleta (drums) Joshua Fauver (bass) and Lockett Pundt (guitar, vocals). The album had universal acclaim. A thump followed by a synth swishing sounding like turning pages in a book or time warping starts "Earthquake." Guitars strings come in along with a hand clap. Eventually, another guitar trembling is layered. Cox singing extremely slowly about the end of a relationship. As with many of these songs, there's a dreamy quality. The pace picks up with melodic guitars in their single "Memory Boy." A moving bass and drums. Cox is reconstructing the places he's been. Lockett Pundt takes the lead vocals in the wonderful "Desire Lines." Layered, harmonious guitars come in immediately. Pundt sings about walking free and urging someone to come with him. Classic pop structure in the beginning with a great vocal chorus and keeps building. The song then explodes gloriously into dual, layered guitars escalating the scales. Four minutes of heaven that could last forever. An indie pop classic. The album ends with "He Would Have Laughed," a tribute to indie artist Jay Reatard who past away. High-pitched guitar strings with tribal percussion and drums. The song changes to a more pychedelic folk-pop song. Cox's lyrics are cryptic in his tribute. Some of the songs on this album are dreamy, trippy and pychedelic pop, while others are sparse and stripped down. There's quite a variety within and between songs with the above descriptors. Mostly, the lyrics are positive and fit the Halcyon-themed motif. There's really no weak spots in this album. It's great on the headphones. Hands down, it's one of my favorite albums of the 2000's. A must listen.

"Axis: Bold as Love"is the second album by the Jimi Hendrix Experience. The album was well-received critically with respect to their successfully combining several musical styles and Jimi's growth as a songwriter. It was produced by Chas Chadler who also produced the debut. It did very well commercially hitting #3 in the US and #5 in the UK. The album opens with a weird interview in "EXP" where a woman asks a guy about UFO's. The guy answers with feedback and distortion. We sort get somewhat of an answer in the next song "Up from the Skies." A groovy guitar and jazzy drums. Jimi as the the alien wants to know and learn about earth and its people. The band kicks it in on "Spanish Castle Magic." Guitar riff heavy. A clear bass by Noel Redding and great drumming by Mitch Mitchell. The song was inspired by a dance hall in Des Moines, Washington. The band shows its pop chops in "Wait Until Tomorrow." Slow, soulful guitar. Very catchy song including the backing vocals. Jimi really doesn't want to wait until tomorrow. Jimi and the band make it short and sweet again in the much-covered "Little Wing." A classic guitar intro. A glockenspiel. Soulful, bluesy. A beautiful guitar solo. Jimi said it was the impression of the Monterrey Pop Festival from the point if view of a girl. The band gives us a ballad in "Castles Made of Sand." A tuneful guitar open. A solid rhythm section. The solo includes a backwards-recorded guitar. The dreams you have tend to get destroyed. The album closes with "Bold as Love." Lots of guitar gymnastics going on hear. Arpeggios and phasing. A whirling, soulful guitar solo. Jimi compares the rainbow colors to people, music, nature and probably drugs. The one big take way for me on this album is that Jimi and his band can write and record short, very good pop songs (the band was rushed on the record especially in the mixing and Jimi thought they could have done better). They also successfully combine rock, blues, jazz and pop. The band is tight and Jimi is a force (but you know that). Lots of good to great songs here. A obvious must listen.

"Dummy" is the debut studio album by English electronic music band Portishead. It was received with much critical acclaim, considered one of the best albums of 1990's, won the UK Mercury Music Prize and is attributed to popularizing the trip hop genre. The bandmembers include Beth Gibbons (vocals), Geoff Barrow (piano, drums, programming, string arrangements) and Adrian Utley (guitar, bass, theremin, organ and string arrangements). Instrumental to their sound, Barrow taught Utley sampling while Utley introduced Barrow to unusual sounds such as cimbalons and the theremins. Commercially, the album hit #2 in the UK and #79 in the US. The album opens with "Mysterions." Weird scratching, an eerie synth and tinny drums. Gibbons vocals are stark and emotional as she sings about forbidden love. The second single "Sour Times" starts out with a sped-up sample of Lalo Smith's "The Danube Incident." This song is creepy, spy-like and seductive. Gibbon's vocals are very expressive and memorable. "Nobody loves me, it's true, not like you do." Yeah, infidelity is the theme. The first single was "Numb." The rhythm carried by a sound somewhere between banging on a sink and a gong. Organ in background. More scratching. Anxious, creepy vocals. Very cinematic. "Biscuit" is another song that opens with a sample. This time it's Johnny Ray's "I'll Never Fall in Love Again." Haunting vocals. No matter how much you eat, you'll never be satisfied. The album closes strong with the third single "Glory Box." Down low music beat. Guitar slashes. Strings in the background. Very 50's to 60's sounding. This album creates a unique atmosphere- dark, stark, seductive, hypnotic and cinematic. Gibbon's vocals are similar but also adds a gentle and emotional side. There's a variety of beats between songs and also great, selective use of hip hop elements in the sampling and scratching. It's funny; I hear songs from this album way more today than I did back in 1994. That shows you how well it's aged. This is just an outstanding album.

"Signing Off" is the debut album by British reggae band UB40. The album was an immediate success in the UK (reaching #2 on the charts) with "its politically-charged lyrics in a country with widespread public divisions over high umployment, the policies of the newly elected Conservative Party under Margaret Thatcher and the rise of the National Front Party. Their reggae and dub-influenced rhythms reflected the late 1970's influence in British pop music of West Indian music introduced by immigrants from the Carribean after WWII." That says it all. The album was well-received critically. A large drone sound fades into a slow reggae beat and a sax in the album opener "Tyler." Lead singer Ali Campbell's emotional tenor matches really well with the music. Right off the bat, their lyrical intentions are clear as they tell the story of a black boy 17-years old convicted of murdering a 13-year old white boy without any real evidence including lacking the murder weapon. They add more horns to the first single "King." Nice harmonies. He's questioning MLK's followers after his death and their mourning and actions. The band covers Randy Newman's "I Think It's Going to Rain Today." Echoing vocals, horns, reggae guitar and sultry harmonies. A song about racism and compassion for fellow humans. "25%" has an bigger horn section and fast drums. They do a fair bit of instrumental parts on this album which I quite liked and this song had a nice one. "Food for Thought" adds a seductive vibe. The band publicizes the famine in Nothern Africa while we celebrate Christmas and its gluttony. Oh, there might have been a song and movement on this a few years later. This is the first ime I really dug into UB40 and this is a really good album. The music has that reggae base and they add to it with horns, different harmonies and various percussion. They weren't afraid to go all instrumental in a few songs. Campbell has a nice voice fitting well with the music and the "politically-charged" lyrics. I can't say anything about the other UB40 albums but this one is a keeper and worth a listen. It's sad; some of these issues have unfortunately gotten worse or at the very least, not improved since 1980.

"In Utero" is the third and final album by American rock band Nirvana. The band hired Steve Albini as the producer seeking a more complex and abrasive sound. The song lyrics appear to draw heavy allusions to lead singer and guitarist Kurt Cobain's personal life and struggles although Cobain denied it. There was a struggle between their record label, DGC, Nirvana and Steve Albini on the finished product which resulted in smoothing over of several songs by Bob Ludwig and Scott Litt. The album had commercial success, #1 in the UK and US, and critical success with the raw and unconventional sounds and Cobain's lyricism. Drum sticks, an off-kilter guitar and we're off with "Serve the Servants." Drums forward. Cobain sounds resigned of the band's fame. Drums, a great guitar riff and "Scentless Apprentice" roars to a start. Hard rockin' and the band at their most most raw. Cobain's guitar climbing the scales resulting is his scream.....awesome. The song is based on Patrick Süskind's book "Perfume" about a killer who takes in his victim's scent, before he kills them, trying to make the ultimate perfume. Hey, I read that book: a great book and my favorite song on the album. The first single was "Heart-Shaped Box." A slower start. Bass in the forefront and melodic guitar. An edgy guitar and a bass that sounds like a buzzsaw. It's about kid with terminal cancer. A great outro with the drums and feedback. "Rape Me" has a guitar strumming sounding very much like their big song from their previous album. They use the soft-loud-soft dynamic. They'll use that a few more times. Cobain screaming "Rape Me" seemingly about his struggles with the media again. The last single with was released posthumously after Cobain's death was "Pennyroyal Tea." Cobain's strained vocals. Loud instruments. The title is a reference to a medicine used to induce an abortion and Cobain makes it seem like a place beyond depression. The album closes with "All Apologizes." A song that stays with its great melody and builds. Cobain says this was a happy song for his daughter but it's hard today not to think there were others reasons to apologize. I think one of the reasons that I like this album so much is its raw, edgy, guttural crunch in both the music and vocals. The lyrics all seem to deal with death and disease and appear very personal to Cobain. Some may find the lyrics tied to his suicide but I never really did and don't now. They do nail the soft-loud-soft dynamic. I do appreciate the details with the instruments and sounds. I will seek listening to the original Albini mix since the rawness is part of the reason this album is so good. A tremendous album and my favorite Nirvana.

"The United States of America" is the only studio album by American rock band the United States of America. This album "combines rock and psychedelia with the then-uncommon electronic instrumentation and experimental composition, along with an approach reflecting an anti-establishment, leftist political stance." I don't think I can give a better description. Commercially, the album only hit #181 in the US. It did receive wide-spread critical acclaim for its pioneering style and techniques. The band doesn't mess around wasting time experimenting. "The American Metaphysical Circus" opens with five musical layers including a calliope, two marching bands and two electronic sounds. It transitions to wobbly and pyschedelic music. Dorothy Moskowitz singing about anti-consumerism, anti-Christianity, anti-tv, anti-media and anti-government. The next song, "Hard Coming Love" is more rockin.' It's either an electronic violin, harpsichord or something else which sounds like a guitar. This is very pyschedelic especially with that ring modulator. "The Garden of Earthly Delights" uses that soft-loud-soft dynamic I Iove. There's laser sounds in the background. Very bass forward. It's inspired by "The Garden of Eden" and its temptations and urges getting humanity out. My favorite song on the album. Strings are added to "Stranded in Time." This is a dead ringer for "Eleanor Rigby." The album closes epically with the three-part "The American Way of Love." The first part is more rock and ragtime with the organ and off-kilter sounding violin. The second part slows it up a bit before ending it with a cacophony of musical layers, similar to how the album started. It's another song stressing the media as manipulators. This was one heck of a weird ride. The music is experimental, pyschedelic, very late 60's and, ultimately, very interesting. There's very nice harmonies and lead singing by Dorothy Moskowitz and Joseph Byrd. The musical styles include experimental, pyschedelic, rock, baroque pop and ragtime. I found the sound of the pyschedelic guitar without the guitar quite interesting. I'd say if you're a pychedelic music fan, there'll be plenty to enjoy on this album.

"Born to Be With You" is the 14th solo studio album by Ameican singer-songwriter Dion (DiMucci). Yes, that Dion. The album tracks were recorded in 1970 and 1974, with six of the eight songs produced by Phil Spector. A host of musicians were used. The album was initially met with indifference in the musical community and Spector shelved it for 12 months. In the 1990's, it started to receive wide-spread critical acclaim with several artists, including Pete Townsend and Bobby Gillespie of Primal Scream citing its influence. Dion didn't like the album's sound, saying it sounded like a funeral dirge. The album opens with a cover of Don Robertson's "Born to Be With You." It stars out kind of country sounding with acoustic and slide guitars. Horns come in. A nice layered sound. Dion's voice is strong and spiritual. Good song. The narrator bears his soul in "Your Own Backyard." Acoustic guitar, bass and drums. A story of a man who lost everything to drugs and gets clean. This song would not be out of place on a 70's Stones' album. "Only You Know" starts slowly with an acoustic, prominent bass, drums and a tambourine. Horns and strings are added accentuating the melody. It's a love song; he needs to be with her. A beautiful sounding song. Spector brings his wall of sound on the closer "Good Lovin" Man." Horns, piano and female backing vocals. The tone is lightened up a bit. This would not be out of place in the late 50's and 60's. This is a really good album. It's soulful and spiritual. Dion vocal's are strong, spiritual and emotional at times. The music styles include ballads, folk, country and 50's to 70's pop. There's excellent musicianship with the guitars, drums, bass, strings and horns. Spector's arrangements and layering are top notch. The songs are either about relationships or down and out stories. A fun album that everyone should enjoy parts of if not all.

"Throwing Muses" is the debut album by American alternative rock band Throwing Muses. The genres listed are post punk and alternative rock. Yep, perfect. Another really good description of the music is "a collision of punk energy, folksy melodicism and guitarist/lead vocalist Kristin Hersh's mercurial voice and lyrics." All of the songs were written by Hersh except "Green" which written by Hersh's step-sister Tanya Donelly, also a guitarist/vocalist. The other two members of the band were Leslie Langston (bass) and David Narcizo (drums). The producer was Gil Norton and the band was first American band signed to British label 4AD. Layered guitars and drums kick off "Call Me." This is very dark and post punk. Hersh sounds like a dead ringer for Siousie Sioux. Donelly harmonizes and they get a soft-loud-soft dynamic going. This is a break-up song. A beating percussion opens "Green." The song then goes melodic and back to creepy. It's still dark and appears to be about being in love with someone while while the person you're living with is jealous. "Hate My Way" brings a start-stop-start dynamic. Very dramatic with emotional vocals by Hersh. Vicious lyrics such as "gun to the head" "why do I want to die." "Soul Soldier" begins slow with a prominent and hypnotic bass. It the then goes really fast with the guitar and beat. I really liked the tempo change. "Delicate Cutters" closes the album. An acoustic guitar keeps the music soft but Hersh's vocals go from soft to screaming as she sings about mental illness. I had a tough time interpreting this album and band until it hit me; if you drew a line from the goth, post punk band Siousie and the Banshees to the late 90's alternative band Sleater-Kinney at the intersection would be this version of Throwing Muses. Their music is post punk, hard and at times country punk/alt country. Hersh's vocals are anxious, emotional and range from whispering to screaming reminding me a lot of Sleater-Kinney's Corin Tucker. The lyrics are very dark, and cyptic...bad relationships, sex and mental illness. The rhythm section drives a lot of these songs. It took a few listens before I really got into this album but I did. I'd say if you're a post punk or a Sleater-Kinney fan, chances are, you'll like this album too.

"Colour by Numbers" is the second album by British new wave group Culture Club. New wave and blue-eyed soul are the listed genres. Hmmmm...I might go pop instead of new wave but whatever. The band does include members beyond lead singer Boy George who are Roy Hay (guitars, piano, electric sitar), Mike Craig (bass) and Jon Moss (drums). The album did well commercially hitting #1 in the UK and #2 in the US and received mostly positive reviews. "Karma Chameleon" has a very nice intro with guitar/bass to drums to harmonica. Boy George has clear and loud vocals. A very catchy chorus accentuated by the harmonica. It's about being afraid of standing up for something, being a suck-up and getting paid back for that. Oh, and it was a very big single. The fifth single "It's a Miracle" has a synth and horns open. A funky/dance beat. It's bouncey and happy. Great backing vocals by Helen Terry. Speaking of great backing vocals by Helen Terry, "Church of the Poison Mind" opens the second side. An organ and a blasting harmonica. Great lead vocals and chorus as well; this time accentuated by horns. Ummm..probably my favorite Culture Club song. Vocals come in right away in "Miss Me Blind." Very 80's and easy sounding although Boy George is telling someone that they'll miss him. The album closes with a melancholy ballad "Victums." A different ending, dramatic with strings and drums. The music on this album is happy, light, poppy and has catchy choruses. Great vocals by Boy George and Helen Terry. Very nice of use the harmonica and horns and, therefore, great production by Steve Levine. There's some filler songs but half the album had hit songs and those songs still stand up today. So, I think you'll know if you'd like this album.

"Blood, Sweat & Tears" is the second album by American band Blood, Sweat & Tears. Rock and jazz rock. Yep. Al Kooper, Randy Becker and Jerry Weiss left the band after the first album leaving Bobby Colomby (drummer) and Steve Katz (guitar, harmonica, vocals) to find a lead singer and they did in David Clayton-Thomas. The band rounds out with seven other members on the piano, organ, horns and bass. The album is more pop-oriented than the first album along with more cover songs. It did incredibly well commercially, hitting #1 in the US and staying there for seven weeks. It also won the 1970 Grammy for album of the year. Critically, it had mixed reviews. The first song with vocals is a cover of the Traffic song "Smiling Phases." Horns, a drum roll and an organ open the song as vocals and a bass enter. Very distinct vocals by Clayton-Thomas. There's a jazzy interlude, a piano solo and very impressive drumming and changes in time. A solo harmonica, very Western movie sounding, begins the Laura Nero cover "And When I Die." Lots of pace changes. A bouncey, Bo Diddley beat. A great outre with horns exploding. Why not cover Billie Holliday and they do with "God Bless the Child." This is very melancholy with horns st the start and end reminding me of a New Orleans funeral. They actually try a bossa nova beat for awhile. The second side has their two big hits. A loud horn intro, the cowbell and the famous Clayton-Thomas vocal "what goes up, must come down" opens "Spinning Wheel." Lots of instruments, a jazzy interlude and ends with flute/recorder fade. The vocals and lyrics are why I remember this song. The Berry Gordy Jr. song "You Make Me So Every Happy" starts slow with an organ and then we get the horns jammin.' A great vocal chorus: the highlight of the song and Clayton-Thomas's best high point on the album. It's the one song I think of when I hear Blood, Sweat & Tears mentioned. The album really reminded me of Chicago's first album. The music is jazzy, pop and rock with lots of beat changes, instruments used and various solos. Very impressive drumming by Colomby. With all the changes within a song, you almost need a flowchart to follow. I've heard that style in a lot of jazz. Overall, I enjoyed this album. Some memorable songs yet some excess, similar to early Chicago. Most everyone knows their hits, and, if you're in to 60's/early 70's jazz rock or early Chicago, you'll surely enjoy the rest of this as well.

"Nilsson Schmilsson" is the seventh album by American singer-songwriter Harry Nilsson. Rock and pop are listed genres. Fair enough, they fit. This album was his most commercially successful hitting #3 in the US. A bouncey piano begins "Gotta Get Up." Catchy, poppy. A trumpet. A trombone. All instruments come in. Very musichall. Transitioning from carefree youth to a responsible adult. "Down" is another happy song, at least musically. Horns carry the melody. A dichotomy with the music as Nilsson sings about going down to the bottom of a hole. Nilsson covers Badfinger's "Without You." Oh. I've heard this. And a lot. A power ballad as Nilsson's voice explodes. Piano. Strings. Yeah, this a great song. And then we come to "Coconut." You know the lyrics. A humorous song with acoustic guitar and percussion. A woman mixes a lime and coconut into a drink, gets sick and calls the doctor who tells her to drink another and go to bed. Simple enough. "Jump into the Fire" is the most rockin' song on the album. It better be with that title. There's echoing vocals and a drum solo and ends with a guitar jam. I knew I had heard a lot of Harry Nilsson. And it's true; I've heard about half of these songs....on radio, in TV shows and, heck, LCD Soundsystem covered "Jump Into the Fire" a few months ago. This a great album. It's fun, catchy, bouncey and sometimes humorous pop songs. Within that, there's a variety of ballads, more rockin' and straight-forward pop songs. Nice production and arrangments with strings and horns. Nilsson has a tremendous voice. Well, wasn't he almost a Beatle. This guy should have been much bigger. An album everyone should like.

"High Violet" is the fifth album by American rock band The National. Indie rock and post-punk revival. That fits. The album was self-produced and had wide-spread critical acclaim. The National are Matt Berninger (lead vocals), Aaron Dessner (guitar, keyboard), Bryce Dessner (guitars), Bryan Devendorf (drums) and Scott Devendorf (bass). Commercially, the album hit #3 in the US and #5 in the UK. "Terrible Love" opens with a slow beat and a fuzzy electric guitar. The songs build throughout with the vocal chorus and backing vocals. The pace picks up and the music starts to mimic the vocals with a feeling of anxiety as Berninger sings about the anxiety of starting a family. "Anyone's Ghost" continues the darker edge atmosphere. Strings and female backing vocals are added. It's about a relationship where there is love but she doesn't want to be with him. The great Sufjan Stevens contributes backing vocals and plays a harmonium in "Afraid of Everyone." There's a jagged guitar. Another song where the music builds with a repeating chorus. The drumbeat begins "Bloodbuzz Ohio." Berninger's deep baritone comes in in an almost emotionless state. The piano carries the melody. The unforgettable lyric "I still owe money, to the money, to money I owe." Drama builds as going back home more in debt doesn't sound like fun. One the best songs of 2010's and my favorite National song. A deeper track that is another favorite is "England." A piano and plodding bass. Strings are added. Horns are added. A very catchy chorus. Berninger initially blames 4AD (their English label) for his writer's block but realizes it's him. This is a very tight band. The instrumental (horns, strings) and vocal arrangements are intricate and terrific. The lyrics are mostly dark dealing with depression, bad relationships, anxiety and debt. Most of the songs beautifully build from the start to the end. There's a lot of catchy vocal choruses. This a compelling listen and a great album, probably their best.

"The Age of the Understatement" is the debut studio album by English supergroup the Last Shadow Puppets. The bandmembers included Alex Turner (Arctic Monkeys), Miles Kane (the Rascals) and James Ford (producer). Symphonic pop, pop rock and baroque pop are Wiki-listed genres and they fit pretty well. Those particular styles were a deviation from the more rock-oriented (at that time) Arctic Monkeys and the Rascals. The album was produced by bandmember Ford and the orchestral composition and arrangements were done by Owen Pallett. The album had generally positive reviews and, commercially, hit #1 in the UK and #111 in the US. A grand symphonic open greets us in the title song "The Age of the Understatement." A galloping beat begins with layered vocals by Turner and Kane. This has very much a movie soundtrack vibe. It's about a romantic break-up. "Standing Next to Me" begins with a bass, drumbeat and acoustic guitar. Strings in the background. They've gone into Scott Walker and Love 60's territory. The guy has a girlfriend who wants somebody else. in "The Chamber," Kane's backing vocals recall the Zombies. A slower song with strings. "Only the Truth" has a start-stop-start. Horns including a tuba create a spy-movie atmosphere. "My Mistakes Were Made for You" really sounds like what the Artctic Monkeys have done on their last few albums. A slow pace, aslashing guitar backed abd strings, definitely encroaching into lounge music. Quite a compelling song with nice string and horn arrangements. It's about getting famous while in a relationship and following the crowd. Well, Turner and Kane accomplished their goal of creating a 60's Scott Walker-type album. With the excellent orchestral composition and arrangements by Pallett, they also got their movie soundtrack atmosphere they were seeking. With the songs two and a half to four minutes, no song wore out their welcome. This is a fast-paced album. It's also an album I enjoyed quite a bit. I like 60's Scott Walker and the last few Arctic Monkey albums have grown on me. If you're a baroque pop fan, they'll be plenty to like here.

"The Low End Theory" is the second studio album by American hip hop group A Tribe Called Quest. East Coast hip hop, alternative hip hop and jazz rap are the Wiki-listed genres. It is further defined as "a minimalist sound that combines bass, drum breaks and jazz samples." That's better. The lyrics are social commentary, word play and humorous interplay between rappers Q-Tip and Phife Dawg. DJ Ali Shaheed Muhammad rounds out the band on this album. The album was produced by Q-Tip and Skeff Anselm. Critically, it is considered a mile stone in alternative hip hop that bridges the gap between hip hop and jazz. In 2022, it was put into the Library of Congress for its artistic significance. And, commercially, it hit #45 in the US and #58 in the UK. A sample by Art Blakely opens "Excursions." Q-Tip comes in ultimately stressing be true to yourself. A drum beat sample from Shades of Brown and a horn sample from the Last poets are also inserted. "Buggin' Out" gives us humorous interplay between Q-Tip and Phife Dawg. Layered drum beats. More of a hip hop beat and pretty chill. "Check the Rhime" uses clever samples from Minnie Rpperton and the Average White Band. More back and forth between Q-Tip and Phife Dawg as they rip the record industry and comment on the inner city. The message is to just enjoy the jazz, the music, in "Jazz (We Got)." Samples in the melody from Jimmy McGriff and the drum beats from the Five Stairsteps' "Don't Change Your Live." The third and final single "Scenario" closes the album. Q-Tip, Phife Dawg and a host of other rappers are on the mic. One of those other rappers is Buster Rhymes and this appearance helped to kick start his career. The overall tone of this album is pretty chill. The selection and use of the jazz sampling partcularly in the drum beats and bass helped that. Very strategic placement of those samples too. The interaction between Q-Tip and Phife Dawg is fun and humorous. The lyrics cover the record industry, drugs and violence of the Inner city, date rape, rap and violence and to just enjoy music. There are some very clever and funny pop culture references (Arsenio Hall, Ralph Cramden and Duke Ellington). This is one of my favorite hip hop albums and a strong recommendation.

"Eli and the Thirteenth Confession" is the second album by New York City- born singer-songwriter and pianist Laura Nyro. The music can best be described as pop incorporating elements of soul, jazz, gospel and rock with multi-layered, opulent and multi-tracked vocals and strings. That about sums it up. The album was entirely written by Nyro, arranged by Charlie Cabello and produced by both Nyro and Cabello. The lyrical themes include passion, love, romance, death and drugs. Critically, it was very well-received and considered influential for its quirky and reflective songwriting. Commercially, it hit #181 in the US. "Luckie" opens with Nyro's strong and soaring voice. Jazzy with the piano and beat. There's horns and tempo changes. This reminds me of Carole King. She's out to get lucky. Doo-wop vocals start "Sweet Blindness." It's bouncey. Layered vocals. They're drinking Daddy's wine. "Eli's Comin'" begins with Nyro singing softly. Mare layered vocals and strings. The pace picks up. Very 1960's R&B and soulful. "Stoned Soul Picnic" continues the souful, layered vocals. There's horns. She's just enjoying the music. "Emmie" goes back to the jazz. Nyro vocals are more sultry, less screamy. Strings. Delicate. And then the pace changes. It picks up and the song ends on a high note. "Women's Blues" begins in a melancholic way with horns. Nyro's is in a higher octave. The tempo changes. There's a bluesy guitar. Her vocals are toned down a notch. This is a fun song. This was a very compelling listen. Nyro's vocals can be sultry, soaring or soft. The music is jazzy, bouncey or bluesy. Both the vocals and music changes octaves, tones and styles constantly. Nyro seems to take the music and her vocals in any direction at any time...totally unpredictable. It's like listening to a free-form jazz artist or watching a classical musical symphony director. Her music appears very influential; I thought of Joni Mitchell, Carole King and Rufus Wainwright. This is a tremendous album and one everyone needs to listen to.

"Kick Out the Jams" is the debut album by American rock band MC5. The album was recorded live at Detroit's Grande Ballrooom over two nights, Devil's Night and Halloween. Proto-punk, garage rock, hard rock and punk rock. Yep. MC5 are Rob Tyner (vocals), Wayne Kramer (lead guitar), Fred "Sonic" Smith, Michael Davis (bass) and Dennis Thompson (drums). The album initially had mixed reviews but is now considered a forerunner to punk rock music. Commercially, it reached #30 in the US. The crowd cheering and an emcee introducing the band and telling the audience to have a revolution opens the album in "Ramblin' Rose." A solid rhythm section. A Who-like guitar on this one. Wayne Kramer on lead vocals with his high falsetto. They continue the hard barrage in "Kick Out the Jams." Explosive. Some people interpreted this as kicking out restrictions. The band actually used to say this to a band they played with to get off the stage. The band shows its bluesy muscles in "Motor City is Burning." Dirty blues guitar. The band jams in maybe their best sounding song on the album. It's actually a jam band song too. Oh, they don't like cops either. The album closes with "Starship," a song based on a poem by Sun Ra. Man, this is trippy. Droning guitars. Very prog. It goes on for eight minutes. I was not expecting the band to all out Hawkwind on us. Most of this album is fast, punk, energetic and chaotic. Attitude makes up for some of the sloppiness. Kramer's lead guitar is great throughout. I kind of didn't get the last song but most of this rocked pretty hard. I'm guessing that if you like punk music, you will like this.

"Q: Are We Not Men? A: We Are Devo!" Is the debut album by American new wave band Devo. New wave, post-punk, art rock, punk rock. Sure. The album was produced by Brian Eno. There were difficulties between the Eno and the band during the recording and David Bowie actually ended up re-mixing the album. Devo is Mark Mothersbaugh (vocals, keys, guitar), Gerald Casale (vocals, bass, keys), Bob Mothersbaugh (lead guitar, vocals), Bob Casale (rhythm guitar, keys, vocals)and Alan Myers (drums). The album had mostly positive reviews and is noted as being a seminal American new wave release. Commercially, it hit #68 in the US and #12 in the UK. Of note: the original cover was intended to have a picture of golfer "Chi-Chi" Rodriguez. They couldn't get his approval in time so they replaced it with a morphed face of presidents JFK, Lyndon B. Johnson, Richard Nixon and Gerald Ford. "Uncontrollable Urge" kicks things off. Herky-jerky and anxious music and singing. Melodic and a nice chorus. A new wave guitar. Minimalist lyrics...Social Anxiety? Paranoia? Maturation? Maybe all of them. They perform one of the best covers of all-time with their version of the Stones' "(I Can't Get No) Satisfaction." Mechanical sounding. A cool, wavy bass. A nervous guitar. They give an anxious, original interpretation. And, they're performance of this song on Saturday Night Live is utterly spectacular. A creeping guitar intro opens "Mongoloid," a song they would probably rethink today. A mechanical beat. Very 80's sounding keys. Layered sounds. A background wah-wah guitar. It's about a man who has down syndrome and leads a normal life in de-evolved society. They continue the de-evolved theme in "Jacko Homo." A repetitive beat. More anxious guitar and keys. "Are we not men? We are Devo!" A fast and galloping guitar and bass begin "Come Back Jonee." They deconstruct Chuck Berry's "Johnny B Good" as Johnny is failing in a relationship. A great Johnny B Good-esque guitar solo. The album closes with "Shrivel-Up." Eerie guitar. Multiple sounds in the background. Kind of pyschedelic and reminded me of Ween. This is a great and original album. No bad songs here. They had been playing them for three years and it sounds like it. The music is melodic, mechanical, angular and unique. They create an anxious and paranoid atmosphere. Their next three albums are also good but this is their best. An album everyone needs to have. I'm off to find my red energy done hat and yellow jumpsuit.

"Spiderland" is the second and final studio album by American rock band Slint. Post-rock, post-hardcore and math rock are the Wiki-listed genres. Yeah! The album was engineered by Brian Paulson and recorded over four days. Slint began as a hardcore punk band but for this album "developed a complex, idiosyncratic sound characterized by atypical rhythmic meters, harmonic dissonance and irregular song structures." That sums it up. Slint was Brian McMahan (vocals, guitar), David Pajo (guitar), Brit Walford (drums, vocals, guitar) and Todd Brashear (bass). The album did poorly commercially but gained a cult following. It is considered foundational in the 1990's post-rock and math rock genres and a milestone in indie and experimental rock. "Breadcrumb Trail" opens the album. High-pitched, melodic guitar with a slow drum beat. McMahan talking. The music changes: piercing guitar, heavy drums, McMahan screaming. Another change to guitar with feedback and a slower pace. Then...repeat cycle. It's about a day at a carnival with a fortune teller. "Nosferatu Man" starts with a slow drum beat, low key, screeching guitar. The guitar is actually melodic. The music goes heavy metal hard and then slows down with a hypnotic drum beat. More whispering from McMahan. This is creepy and it should be as it's based on the 1922 silent vampire film of the same name. The album closes with "Good Morning, Captain." A pronounced bass, loud drums and more piercing guitar. Of course, a big change to guitar with feedback then they go soft. Multple tempo changes and they finally end with McMahan taking and screeching and echoing guitars. I'm glad I didn't listened to this album until about 10 to 15 years ago. I'm not sure that I would liked or even noticed it back in 1991. I guess no one else did either. A creepy atmosphere. Dynamic tempo changes. Screeching, piercing and feedback-laced guitars. The music is soft, loud and sometimes even builds. The vocals range from whispering to talking to screaming to actually singing. I'm very glad I did first listen to when I did; I was very open to it and found it curious. Upon repeated listens I really liked it. Now, I find something different every time I listen to it. And no, not for everyone, but those who want some what of challenge, it's definitely worth it.

"Movies" is second solo studio album by co-founder of Krautrock group Can Holger Czukay. Experimental rock, art rock and electronic rock are the Wiki-listed genres. Yes, they fit. It is considered a cult classic for its use of media samples from film, TV and short wave and apparently paved the way for later projects such as David Byrne and Brian Eno's "My Life in the Bush of Ghosts." The album was self-produced and self-mixed and Czukay plays a lot the instruments including vocals, guitar, bass, keyboards and synthesizers. Guitar, a horn sample and a disco dance beat open the album and the song "Cool in the Pool." This is light and fun. Czukay repeating "Cool in the Pool" in his German accent... pretty funny. Various noise samples - guitar, guys talking, an opera singer. "Oh Lord, Give Us More Money" gets right into ambient and soft jazz territory...a Spanish-sounding guitar. The pace changes becoming more dramatic. Some different samples including movie voices, a dog barking. A weird voice is repeating "Give us money." A sample of an Iranian singer opens "Persian Love." There's Middle Eastern-sounding guitar, synths and an electronic beat. More Farsi voice samples - talking, laughing, singing. "Hollywood Symphony" closes the album and as you could imagine a big symphony opens the song. Beat changes throughout including into a rock one. Czukay focuses on using English-speaking movie samples. Yeah, this album was interesting. It was light and wacky. Dramatic at times. Musical style changes through a few of the songs: that seems to be theme the randomizer is using on me this week. I heard electronic, ambient, movie soundtrack-loke and new age jazz. The use of samples was impressive especially given the technology at the time. I thought two of the four songs were unnecessarily too long but, overall, an enjoyable listen.

"Reggatta de Blanc" is the second studio album by British rock band the Police. The Wiki-listed genres are new wave, reggae rock and post punk; I was curious as to the exact grouping of the Police. The album was produced by Nigel Gray and the Police and it was recorded in four weeks over a few months at Surrey Sound in Surrey, UK, which was low budget and allowed them more freedom. It shows on some of these songs. Commercially, it was their first album to top the UK charts and reached #25 in the US. The album received mostly positive reviews. The guitar and drums and then the bass and Stings 'Ohhhh' open "Message in the Bottle." A great mix of all the instruments. A tremendous vocal chorus and guitarist Andy Summmers at his best. It's the story of a castaway who sends a bottle seeking love and one year later wakes up to find a hundred billion washed-up bottles and realizes there are more lonely people than him. One of the Police's best and my favorite from them. "Reggatta de Blac" is mostly an instrumental song and was developed from stage jams of "Can't Stand Losing You." A song that best-features the band on their instruments. A nervous-sounding bass, slow drums and jazzy, echoing guitar create a foreboding atmosphere and begin "Bring on the Night." Layered vocals and the guitar switches to more reggae. Back to the echoing guitar. A song written three years earlier and based on Gary Gilmore, the US murderer who demanded his execution. "Walking on the Moon" was inspired by Sting's girlfriend and developed after getting drunk and walking around "the room." Well, moon sounds better than room and, now, this song makes sense. Thumping bass, reggae guitar slashes, various percussion sounds. "The Bed's Too Big Without You" has a repetitive drum and bass reggae beat and more of the jazzy, reggae guitar. It's a song that was inspired (wrong choice of words maybe) by Sting's first girlfriend who committed suicide after their break-up. There's some deeper meanings than I had originally thought in a few of these songs. The first side of this album is nearly flawless; the band is tight. There's a great mix of all the instruments, no overcrowding with the vocals and Andy Summer's guitar, in particular, shines. Mostly, the band just rocks. And then, we come to the second side.... poor Stuart Copeland. Yeah, two of the three songs he wrote just don't work. "Contact" is OK. Overall, the first side makes this album worth it and half the second side is decent.

"Third/Sister Lovers" is the third album by American rock band Big Star. The songs on the album were recorded at Memphis' Ardent Studios in 1974 but never got properly released until 1978 due to financial issues, the uncommercial sound of the album and the lack interest from bandmembers' Alex Chilton (vocals, guitars, keyboards) and Jody Stephens (drummer). Bruce Dickinson produced this power pop and alternative rock album which documents the band's deterioration and declining mental state. It did not do well commercially but gained critical notoriety during the 80's and is considered a cult classic. I followed the song listing order from the 1992 Rykodisc release. Guitar slashes, a forward bass and a bouncey piano kick off "Kizza Me." Very 1970's rock power pop. Strings eventually added at the end. He wants to feel her deep inside. A doo-doo vocal intro begins "Thank You Friends." This is slower with strings and background female singers. Layered music and a guitar solo. A positive message as Alex is thanking all of us for making it. "Jesus Christ" has a electric guitar carrying the melody augmented by a piano and a pop-rock beat. A chorus with backing singers and we get a sax solo! "Holocaust" has a piano and echoing slide guitar. An eerie atmosphere with strings added in this sad and heartbreaking song. He's looking in the mirror at himself nearly dead and the song ends with him saying he's a holocaust. "Kanga Roo" has an acoustic guitar, electric guitar, idiosyncratic drums and and percussion and a background grinding noise. I think the whole "Yankee Hotel Foxtrot" album by Wilco is based on this song. The album closes with "Take Care." Strings and acoustic guitar in this slow waltz. We are firmly in baroque pop. Chilton is begging everyone to take care in an emotionally drained voice. There are a number of versions of this album with different song orders. I like the order of this version; it pretty much firmly divides the album. The first half of this album is power pop with catchy melodies. A more positive tone with layered music. The second half has slower songs and more added strings falling more in the baroque pop category. Heartbreaking and beautiful with Chilton's tenor voice emotional and emotionally drained. This a wonderful album with a deeply talented artists and deep songs. A must listen.

"Giant Steps" is the third album by English rock band the Boo Radleys. The band expanded on the shoegaze style of their previous album and added pop, reggae, noise pop and orchestral sounds. Yes, they did. The album was produced by Martin Carr (guitarist, singer), Tim Brown (bass, keyboards) and Andy Wilkinson. The album received favorable reviews and, commercially, reached #17 in the UK. Wavering strings and people talking open "I Hang Suspended." The band kicks in with guitar feedback. A nice melody. "Wish I Was Skinny" continues the nice sounding melodies. Acoustic guitar. A clap beat. String. A country vibe and a gorgeous song. They still remind us that there's plenty of shoegaze left in the tank as they rock on with "Leaves and Sand." A wobbly, feedback guitar. And a blazing guitar solo with the drums all over the place. They go a bit pyschedelic in "Barney (...and Me)." Acoustic guitar. A clarinet. The keys give it that pyschedelic edge. It goes harder. Horns. Layered guitars. Great song. Swirling layers syths introduce "Lazarus." That's gives way to a majestic sound with the horns. The album ends with "The Noise Revisited." A song with a catchy vocal chorus and horns. Very 60's sounding. This a fantastic, powerhouse of an album. 17 songs that are gone in a flash. Melodic and very well produced. They seem effortless as they change styles within their shoegaze/Britpop base. At times they reminded me of My Blood Valentine and other time, the Flaming Lips. One heck of a fun ride that everyone needs to hop on for.

"Amnesiac" is the fifth studio album by English rock band Radiohead. The album was recorded with Nigel Godrich in the same sessions as "Kid A" That work was split into two albums as the band thought it was too dense for a double album. The music incorporates influences from electronic music, 20th century classical music, jazz and krautrock. Commercially, the album hit #1 in the UK and #2 in the US. The album had mostly positive reviews although some felt it too experimental and less cohesive than "Kid A" and/or a collection of "Kid A" outtakes. Fair enough. "Pakt Like Sardines in a Crushed Tin Box" opens the album. Metallic percussion and an electronic idiosyncratic beat. Synth keys and Thom Yorke's auto-tuned vocals are added. Yorke's disappointed with someone or something. Hey man, get off his case. Piano, people talking in the background and Yorke humming begin the first single "Pyramid Song." The song builds with strings, synths and Yorke's vocals. A whirling background. The music was inspired by Charles Mingus' "Freedom." The band returns to a more standard rock format in ""I Might Be Wrong." A synth drone open. That venomous guitar riff, the hypnotic metal drum beat, a Chic bass line and seductive vocals. Very simply "Don't look back." They continue the standard rock format in the other single "Knives Out." A melodic guitar influenced by Johnny Marr. Kind of a dreamy song with haunting vocals. The album goes back to more experimental and closes with "Life in a Glasshouse." The band collaborates with jazz trumpeter Humphrey Lyttelton and his band. More of a New Orleans jazz funeral. Interesting lyrics as a celebrity's wife is harrassed by the paparazzi and then papers her windows. Actually a good song. This album has stood the test of time pretty well. I think I like it a little more now since I'm more open to experimental and electronic music. Like not love. There's experimental, there's rock and pop and there's jazz. It is a different album than "Kid A." I'd put it in the middle of the Radiohead discography but that's still pretty good.

"Tragic Songs of Life" is the debut album by American country duo the Louvin Brothers. Theis country album was somewhat of a concept album dealing with tragic heartbreak and misfortune songs and classic murder ballads. Yep. The Louvin Brothers are Charlie (vocals, guitar) and Ira (vocals, mandolin). A quote from a critic: "A landmark of traditional country music that remains powerful more than fifty years after it was recorded." A mandolin and guitars open " Kentucky." Great harmonization by the brothers, a tenor and a bass. The music falls more in the line of bluegrass. His sweetheart will be coming home soon. More of the mandolin and strumming guitar in "What Is Home Without Love." Great lyrics. What is home without sunshine? Without wine? I know I heard "In the Pines" before and, sure enough, it's the song Nirvana covered on their unplugged album. The bothers' vocals give this a spiritual feeling. A bleak outlook, though, with death being the only certainty in life. And then we begin the murder ballads. In "Katie Dear," there's silver and gold daggers. There's a Mother, a Father and a boyfriend that got stabbed. They had planned on running away. "Knoxville Girl" tells the tail of a man murdering a girl and going to jail. He did cause' he loved her so well. I thought the 50's were a happy time for all Americans; not these two brothers. Listening to this felt like it belonged somewhere between the watching "No Country for Old Men" and "O Brother, Where Art Thou?" Both Coen Brother films. Any connection? On the musical side, just great vocals and harmonization. The guitar and mandolin pickin' had a strong bluegrass feel. No doubt the vocals and the storytelling are the highlight of the album. And, an album I quite enjoyed and, I think, most people would too.

"G. Love and Special Sauce" is the debut album by American rock band G. Love & Special Sauce. Rock band may be a stretch but I'll go with it as their Wiki-genre description is blues and rap, probably more apt. The album was produced by Stiff John and Special Sauce. The bandmembers are G. Love (Garret Dutton- lead vocals, guitar, harmonica) and Special Sauce who are Jeffrey Clemens (drums, percussion, backing vocals) and Jimi "Jazz" Prescott (string bass). Drums, bass and G. Love's vocals open the album in the Guitar Slim blues classic "The Things I Used to Do." Love has this rap and singing combo going in his vocals. Sloppy guitar slashes. They have a nice groove going though. They slow it down a bit in "Blues Music." The music is Mississippi delta blues and the rapping is straight forward. A good example of their rap-blues fusion. The guitar gets more melodic in "Baby's Got Sauce." The rhythm section is almost soulful. His baby has the special sauce. The pace picks up in "Cold Beverage." A slide guitar. Another guitar with a blues edge, an almost slopppy version of Jack White. Not bad. Simple lyrics as he needs a cold one. Piano is added to "This Ain't Living." Ohh, a more jazz-rap fusion and a De La Soul vibe. Defintely, the most serious song ( maybe only) lyrically as the topic is poverty. "Shooting Hoops" start out old school with a Robert Johnson-esque bluesy guitar intro. We're talking about basketball. MJ, Magic, Dominique and Dr. J are mentioned....the song is dating itself. This album is loose, laid back, slow and chill. I found the rap-rock-blues fusion fairly unique. The lyrics and themes are mostly simplistic- beer, garbage and basketball. The rap style is loose but fits with the music. There are some guitar jams but it's mostly playing along with the rhythm section. I really liked the added piano and jazzy songs; they could have done more of that. It's another CD-era album and could have been trimmed. Overall, it's a decent listen; their rap-blues fusion worked for me.

"The Stranger" is the fifth studio album by American singer-songwriter and pianist Billy Joel. It was produced by Phil Ramone who would go on to produce his next four albums. The decision to hire Ramone over George Martin was that Joel wanted to use his touring band to record and not session musicians which Martin wanted. Good decision. His touring band included Larry DeVito (drums), Doug Stegmeyer (bass) and Rich Cannata (multi-instrumentalist including organ and sax). The recording also included 12 other musicians and singers. The album was Joel's critical and commercial breakthrough with general positive reviews and hit #2 in the US and #24 in the UK. "Movin' Out (Anthony's Song)" opens this hit-filled album with an anxious piano and guitar. Joel's stutter at the end of sentences and the backing vocals are memorable. Anthony is trying make it past his grocery store stint. Joel's whistling and piano playing highlight "The Stranger." A lonely vibe. Very 70's sounding when the band kicks in. Joel said there really was no song meaning although he said a man with schizophrenia fits best. Joel actually thought "Just the Way You Are" was too moopy a ballad. For better or worse, his producer and band thought differently. Nice sax and it's about his then-wife Elizabeth Walker. "Scenes from an Italian Restaurant" is Joel's favorite song that he wrote. It's a three part-epic about meeting a guy in an Italian restaurant, descrbing his own life and flashbacks to a hip neighborhood couple. I'd imagine it has been a concert staple. That familiar piano intro begins "Only the Good Die Young." The catchy hand clapping. The Catholic Church did not like it as the boy is trying to get the abstinent Catholic girl. I kind of like this song at the time and I went to CCD. Joel goes really soft with another song, a ballad, to his then wife in "She's Always a Woman." A nice clarinet/flute touch. I'm not the biggest Billy Joel fan but I don't hate him either. This album definitely brings back 70's memories as half these songs remained on the rock-pop radio airwaves for quite awhile. The storytelling, sweeping piano and the band in general stand out. This has to be his best album. I know everyone knows where they stand on Billy Joel but this sounded perfectly fine for me today. But tomorrow???

"Mama Said Knock You Out" is the fourth studio album by American rapper LL Cool J. East Coast hip hop. The album was produced by Marley Marl and recorded at his "House of Hits" in Chesnut Ridge and also at Chung King House of Metal in NYC. It was a critical success with comments of it being "tougher and funnier" than previously efforts with themes of crass materialism and simple pleasures. Commercially, it hit #16 in the US and #49 in the UK. "The Boomin' System" opens the album. There's people taking. He's got the funk. Very groovy. The samples include a few from James Brown. The soul gets turned up in "Around the Way Girl." His use of samples from Mary Jane Girls and Kerri Burke help this out. She's got a bad attitude and likes to dance to the rap jam and that why he likes her. "Mama Said Knock You Out" was inspired by a quote from LL's Mom about his critics. And he does that coming out strong vocally along with the beat. An in your face song. I like the rubber duckie-souding sample in the background. James Brown and Sly samples. Lots of James Brown samples on this album. LL continues his attack on and dissing towards his rivals on "To da the Break of Dawn." His rivals being Koll M Dee, McHammer and Ice-T. This one has a funky groove and some timely horn samples. Brilliant lyrics rhyming scarface with thief. He slows it down on "6 Minutes of Pleasure." It is a ballad and I'd say romantic ballad but it's she that only wants 6 minutes of pleasure. Great beat and more horn samples. These songs go from catchy to funny to authoritative. There's a whole song on different cereals. The sampling is great creating the funky or soulful vibe. I know it's past the classic hip hop era but this album also has that feeling with the sound and rhyming. The beats change from slow to fast. This is a really good and enjoyable album. There's something here for everyone.

"Rust Never Sleeps" is the 10th studio album by Canadian-American singer-songwriter Neil Young and his third with American band Crazy Horse. The album features both studio and live tracks with most songs recorded live and overdubbed in the studio while other songs originated in the studio. The concept "rust never sleeps" came from his tour to avoid artistic complacency and to try more progressive, theatrical approaches to performing live. The album received universal high praise and, commercially, it reached #8 in the US and #13 in the UK. The first side is the acoustic side and opens with "Hey Hey. My My (Out of the Blue)." That acoustic guitar intro. A great harmonica interlude and outro. Young said he was inspired to write this while playing with Devo's Mark Mothersbaugh who said "Yeah, rust never sleeps." "It's better to burn out than fade away." Don't get complacent in music. Young wrote "Thrasher" while traveling the roads of New Mexico. And, being on the road seems to be an allegory for life and especially the end of the hippie era. He also gives a good dis for his former CSNY bandmates. Self backing vocals are added to "Pochontas." Very poetic and tells of the destruction of the country by commercialism and of the Native Americans. The song was written just after Marlon Brando had a Native American woman accept his Oscar. Well, Young, Brando and Pochontas are sitting around the campfire at the end. The second electric side opens with "Powderfinger." Melodic, great backing vocals and a great guitar chorus and solo. It tells the story of a young man who attempts to protect his family against the gunboats and pays the ultimate price. "Sedan Delivery" goes from fast to slow to even faster and is another song influenced by Devo. Reverbing guitar, layered guitars. Surreal lyrics but I'm thinking it's about dealing drugs...probably other meanings too. The album comes to a close with the distorted, blasting guitars in "Hey Hey, My My (Into the Black)." There's a great "dirty" feeling to this. A searing solo. We started soft and end kicking and screamming. This album is loaded with great songs. The lyrics are mystical, allegorical and personal. Both sides are melodic. The second side is scorching with some of his best guitar work. The first, acoustic side is no less powerful with some of his best lyrics. This album ranks very high in my Neil Young discography and is a must listen.

"Permission to Land" is the debut studio album by British glam rock band the Darkness. The Darkness included Justin Hawkins (vocals, lead and rhythm guitar, synth, piano), Dan Hawkins (lead and rhythm guitar), Frankie Poullain (bass) and Ed Graham (drums). The album had wide-spread acclaim, won several awards and was on a number of year-end best-of lists especially in the metal community. Commercially, it reached #1 in the UK and #36 in the US. "Black Shuck" opens the album. Loud, forward guitars with a rock beat...sounding like an AC/DC tribute band. Justin Hawkins sings in a heavy metal style and loves his falsetto. Swirling guitars and a prominent bass kick off the first single "Get Your Hands Off My Girl." Driving rock. The song speeds up. I'm hearing Urge Overkill now. It's based on Hawkins' personal experiences. "Growing on Me" is more melodic as they enter power pop and glam territory. I think his falsetto best matches this style. Goo Goo Dolls? They take the glam up a notch in "I Believe in a Thing Called Love." Ah, the one song that I've heard before. Power chords. "Touching you, touching me." He kind of sounds like Tiny Tim but it works. Nice guitar solo. The last single "Love is Only a Feeling" is softer with an acoustic guitar. Melodic guitar chords. A heavy metal hair band guitar solo. The album closes with "Holding My Own." They are firmly in heavy metal hair band ballad territory. This was not needed. This album is power pop/rock and most often a fun listen. This reminded me of a number of bands. Hawkins' falsetto can be annoying but sometimes it fits the song perfectly. The songs are generally melodic and catchy. For the most part, their music exists in the glam rock or hair metal (essentially glam rock a decade later) genre and if you like that style, you'll enjoy this.

"Djam Leelii" is the first collaborative studio album by Senegalese musicians Baaba Maal and Mansour Seck. The album received wide-spread critical acclaim. Maal and Beck both play acoustic guitar and sing the vocals. The other musicians on the album included Aziz Dieng (electric guitar), Mama Kouyate (Kora (harp-lute)), Jumbo Kouyate (Balaton (idiophone)) and Papa Dieye (percussion). "Lam Tooro" opens the album. Acoustic guitars and simultaneous melodies. Strong tenor voices. "Salminanam" adds a percussion including what sounds like congas and some sort of shakers. Electric guitar too. It's a happy song and a good one. A single acoustic guitar going up and down the scales begins "Bibbe Leyday." A balafon comes in. Passionate singing and song. "Kettodee" features Maal and Seck chanting. Not all songs are happy: a more subdued musical tone and emotionally serious vocals highlight "Ko Wone Mayo" and "Daande Lenol." Maal and Seck have tremendous tenor voices. Layered vocals, melodies and rhythms. Various percussion instruments are used. Most of the songs have a happy and soothing feeling. The album does end with some more serious songs. You do not need know the language when the vocals and music change the tone. This is a really good album that most people would enjoy without ever previously hearing Senegalese music.

"The Real Thing" is the third studio album by Anerican rock band Faith No More and the first album with lead vocalist Mike Patton following the dismal of Chuck Mosley. Alternative metal, funk metal and rap metal are the Wiki-listed genres. I'll agree with that. The other bandmembers included Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass) and James Martin (guitars). Commercially, the album hit #11 in the US and #30 in the UK. A driving guitar and bass and pounding drums kick-off "From Out of Nowhere." Melodic keys. Patton's nasily vocals as he sees a girl and she's gone. A big grand orchestral-sounding intro begins "Epic" then changes to rap with a hip hop beat and then back to the synth chorus with Patton singing. They add in a heavy metal guitar interlude. This is a smorgasbord board of styles. And, of course, the piano outro. Fish, anyone? Bill Gould brings the funky bass in "Falling to Pieces." A Living Colour-esque guitar. 80's style synths. Catchy, almost poppy. Nice touch with the female backing vocals at the end. "Surprise! You're Dead" brings it. Speed metal guitar and pace. Patton raps and has a great evil laugh. The album closes with an instrumental in "Woodpecker from Mars." The band is just showing off their technical ability. Symphony-sounding synths mixed with a heavy metal band. Dramatic. And, a bass jam. The first time I heard "Epic" I was a little confused. I liked the song somewhat but found it a bit much musically combining the styles. I still hear the same thing but I know now after listening to this album that this is one of the strengths of this band and album. The band has a funky bass, heavy metal guitar, 80's-style synth, versatile drumming and a bratty-sounding guy rapping and singing. And this works. Everyone musically holds their own and contributes. This is really good album. It's another album that I've had this week that I'm not sure I get in 1989. Highly recommended.

"Shadowland" is the debut solo album by Canadian pop and country singer-singwriter k.d. Lang. Lang brought in Owen Bradley to produce as he had produced Patsy Cline. The album is essentially Lang's reinterpretation of and homage to country songs of the 50's and 60's. Commercially, the album hit #73 on US Billboard Top 200 and #9 on the US Country Charts. The album actually starts with the relatively modern song in Chris Isaak's "Western Stars." Acoustic and steel pedal guitars. A lovely voice, yes, Patsy Cline comes to mind. Her heart is bound to break tonight. The band goes more electric in Roger Miller's "Lock, Stock and Teardrop" with electric guitar and more steel pedal. Bass, piano and background doo-wop singers. She throws a fun song in with "(Waltz Me) Once Again Around the Dance Floor." A violin solo. Prominent bass. Piano driven. And, of course, a waltz. A mexican-sounding guitar starts "Don't Let the Stars Get in Your Eyes." A country beat. An orchestral background highlights "Tears Don't Care Who Cries Them." Langs' voice just magical. Great background vocals. Lang collaborates with Kitty Wells, Loretta Lynn and Brenda Lee in the closing song "Honky Tonk Angels' Medley." A country guitar and beat. All women singing together and then get their solo turns. The girls ramble though medleys of three songs in three minutes. This had to be the high point of the recording for Lang. Lang shows a tremendous range with her voice - gentle, soaring, emotional and sultry. Great varied musical production. This album sounds both modern and retro. There's really not a bad interpretation of any song. A great debut album giving every indication of the superstar to come. High recommendation.

"Two Dancers" is the second studio album by British rock band Wild Beasts. Indie rock, art rock and dream pop are the Wiki-listed genres. No argument there. The album was produced by Richard Fromby and Wild Beasts. Wild Beasts are Hayden Thorpe (vocals, guitars, bass, keys), Tom Fleming (vocals, bass, keys, guitar), Ben Little (lead guitar) and Chris Talbot (drums). Commercially, the album hit #68 in the UK and was very well-received critically. "The Fun Powder Plot" opens the album. A droning synth, bass, drumbeat and percussion. Hayden Thorpe enters with his falsetto vocals. Interesting sound. I don't know it this is true but I read a comment that this is about when two House of Common members threw condoms filled with purple powder at Tony Blair in a Fathers' right protest? Thorpe keeps his falsetto going in "Hooting & Howling." This song builds slowly. A catchy melody. Vocals repeating hooting & howling. He's protecting his girls. "All the King's Men" has a swirling guitar melody. Enter vocalist Tom Fleming, not singing in a falsetto but Thorpe is in the background. Girls, watch out for those privileged boys. "We Still Got the Taste Dancin' on Our Tongues" starts a string of songs with echoing, reverbing guitars. I like this sound. Very U2-ish. Thorpe's voice sounds the best on this song as he sings about drinking moonshine. They continue those reverbing, echoing guitars in "This is Our Lot." A long musical intro. Bass and drum anchor the song as it builds emotionally. It sounds like two people are about to have sex for the first time. This album has an interesting sound; songs are dreamy, catchy pop and more rockin' with echoing guitars. It really grew on me after a few listens. The two singers balanced each other out; I'm not sure I could handle a whole song with Thorpe's falsetto. The song themes seem to go all over...politics, sex , society, prostitution, brutality and a women's point of view. It's a compelling listen.

"Trafalgar" is the ninth (seventh internationally) album by musical group the Bee Gees. It is an album composed of all ballads. Robert Stigwood and the Bee Gees produced the album. For this album, the Bee Gees consisted of brothers Barry Gibb (vocals, rhythm guitar), Robin Gibb (vocals) and Maurice Gibb (vocals, bass, rhythm guitar, piano, mellotron and organ) and drummer Geoff Bridgford. The album hit #34 in the US but did not chart in the UK. The lead single "How Can You Mend a Broken Heart" kicks off the album. A soft start with a piano and acoustic guitar. Barry and Robin are the co-lead singers. Needless to say, great layered vocals and harmonies. String/orchestral arrangements in the background. Great song...one of my favorite Bee Gees. "Israel" features piano, bass and drums. More string/orchestral background arrangements. Barry on emotional lead vocals in an ode to Israel. The second side opens with the self-titled "Trafalgar." Hey, no orchestra. Piano, electric and acoustic guitars, bass and drums in a more rockin' ballad. Co-lead vocals. Needs someone to know him and to get to Trafalgar. A hidden gem. They get back to the strings in the second single "Don't Want to Live Inside Myself." Barry Gibb in another perfectly executed emotional lead vocalist role as he's got to find out who he is. Stating the obviously, this album has outstanding lead, backing and harmony vocals especially Barry. The album is very well-produced and, actually, I felt the string/orchestral arrangents were a little overdone. I liked it when they rocked out a bit without the strings; the songs had a Beatle-esque pop feel. But, overall these songs are well written, composed and executed. I think these guys may have a future.

"Tank Battles: The Songs of Hanns Eisler" is a solo album by German singer Dagmar Krause. The album is a collection of songs by German composer Hanns Eisler sung by Krause in English and German. Cabaret, jazz and avant-garde are the Wiki-genres. Eisler is best known for composing the national anthem of East Germany. "The Song of the White Wash" opens the album. Prancing piano, horns and strings. Very cabaret. "(I Read About) Tank Battles" is ominous with the horns and talks about war. Krause uses a haunting voice in "Mother Beimlein" as she describes a woman taking a guy home to her room. In "Song of a German Mother," a mother sees her son in an army uniform and realizes she'll never see him again. A melancholy piano carries "Mother's Hand." An ode to all mothers. An anxious piano and strings enhance the paranoia of "The Rat Men-Nightmare." I don't really want to know what this is about. "The Trenches" has marching drums and horns. Dramatic and as you can imagine, they've come to take him away to the trenches. This album plays like a musical or opera. Krause sings and talks as she tells stories of plagues, war, life during war and immigration to the US. Most of these songs come in between one and two minutes long and they are more painted scenes than stories, taking place in Berlin circa the 1920 to 1940's. That reminds me to catch up on the tv show "Babylon Berlin." Krause's strong and dramatic voice fits the music perfectly. Strong production and arrangments. If you're a fan of musicals, this album is for you.

"Under Construction" is the fourth studio album by American rapper Missy Elliot. The album was primarily produced by Timbaland and features guest appearances by Jay-Z, Beyoncé, Method Man, TLC, Ludacris and Ms. Jade. The album was dedicated to Aaliyah (who had recently died) and the victims of 9/11. Commercially, the album hit #3 in the US and #23 in the UK and was well-received critically. The album opens with "Intro/Go to the Floor." Missy explains she's a work in progress and dedicates the record to Aaliyah and the 9/11 victims. The music starts halfway through with James Brown yelling "hard working" from "Sex Machine." Synths and the beats in the background. She's shaking her booty. A hypnotic, repetitive beat highlight "Gossip Folks." Missy raspy rapping. Ludacris joins in and tells his story and don't believe the rumours. Michael Jackson and Vanilla Ice are mentioned. A drum sample of Blondie's Heart of Glass" pervades throughout "Work It." She gotta work it. Provocative lyrics and you won't find no better bitch. You got to turn the volume up on "Funky Fressed Dressed" featuring Ms. Jade. Various samples including the Beastie Boy's "Paul Revere." A lot going on with scratching, drum beats and a repetitive chorus. Missy in fast rapping mode and her attitude is bitchy cause her period is heavy...never heard that before. "Play That Beat" begins with an early 80's synth sound and a drum sample from Thunder and Lightning's "Bumpin' Bus Stop." This time it's the synths that are hypnotic. An impressive grinding vibe. Most of this album is pretty chill and blends soul and R&B with the hip hop beats and sampling. Missy Elliot's rapping is strong and in control and at times raspy. Hypnotic beats. Sex and romance seem to be the main lyrical topics. Great use (and not overuse) of guests. This is Missy's album and a very decent one at that.

"OK Computer" is the third album by English rock band Radiohead. The album was produced by Nigel Godrich and the band with the band playing live for most of the recording. The music moved away guitar-centric as in their previous album, "The Bends," towards more densely layered and electronic. The lyrics are abstract with themes of transport, technology, insanity, death, modern British life, globalization and anti-capitalism. Commercially, the album hit #1 in the UK and #21 in the US and, critically, had wide-spread acclaim as one of the best albums of the year and of all time. In 2014, it was inducted into the National Recording Registry by the Library of Congress for its artistic significance. "Airbag" kicks off the album with a loud guitar and electronic drums. The illusion of safety offered by modern transport. A futuristic sound and sci-fi vibe. Electronic glitches end the song. The six-minute plus "Paranoid Android" was the first single. There are multiple sections as it goes from acoustic guitar and drums to acoustic guitar and bass to a harder-edged guitar and back again. A very compelling and meandering song. The title is a reference to the paranoid android in "The Hitchhiker's Guide to the Galaxy." "Subterranean Homesick Alien" was influenced by Miles Davis' "Bitches Brew" and starts off dreamy with a soft guitar, space sounds and drums. The song musically explodes with lead singer Thom Yorke yelling "Uptight." Then goes back dreamy again. A wild story as Yorke dreams about being abducted by aliens and returned. It's one of my favorite Radiohead songs. And, a few songs later we get another one of my favorite Radiohead songs in "Let Down." It starts off dreamy again with guitar and piano. The song builds. Layered vocals. Abstract lyrics as Yorke expresses the fear of being trapped in transit with no control of it. "Karma Police" continues the building sound song structure. Piano, drums. The title is a reference to an in-joke when the band was recording "The Bends" and someone was behaving badly that the karma police would get them. It's the third of six songs with an electronic glitch of sorts ending the song for those counting. "No Surprises" is a happy-sounding song with guitars, a glockenspiel and great vocals. Ah, but we like contrasts, as the lyrics describe someone who is trying to keep it together but can't. A swirling sound with slow, eerie guitars and vocals begin "Lucky." Ominous sounding as a man is trying pulls himself out of an aeroplane crash. A grand, searing guitar at the end. The song was inspired by the Bosnian War. The album still sound likes the future to me; maybe, anything science fiction sounding with abstract lyrics does it. Some say this this a concept album. I disagree there; sure some songs are proggy and electronic at times but it's a collection of songs and a lot of them sounding like movies in and of themselves. Yorke's vocals effectively pervade a sense of paranoia. I'm always a sucker for songs that go soft-loud-soft and build and there are a number of those songs on this album. A true classic album and sounded every bit of it today.

"Exit in Guyville" is the debut album by American singer-songwriter Liz Phair. The album was produced by Brad Wood and Phair and was recorded at Idful Music Cotporation in Chicago. Indie rock and lo-fi are the Wiki-genres. Yep. The album concept combines small town mentality with the Chicago Wicker Park music scene. The songs are sequenced to match the Rolling Stones' "Exile on Main Street." Commercially, the album hit #196 in the US and was critically well-received. "6'1"' opens the album. Fast strumming guitar, bass and drums. Hey, this does has a Stones' sound to it. Phair's deadpan vocals and a tambourine. On the surface, you might think she's attracted to a man of that height but she hates him. She continues the hate on the next song "Help Me, Mary." This time she targets friends who have rules.... She's not giving in. More straight-forward rock. A melodic guitar is one of the highlights of the first single "Never Said." Harmony and backing vocals. Keepin' the rock thread going and a decent response to "Tumbling Dice." This song addresses the music scene and comments made. She never said nothing. "Fuck and Run" definitely carries the Stones' torch. Phair expresses regret about "it" happening again. She wants a relationship but this particular action has happened throughout her life. The album's lyrical tone changes a little at the very end. "Gunshy" has electric guitar strings and a droning synth background. Subdued as she's relegated to the normal life. The second single "Stratford-on-Guy" might have her best lyrics. A snare drum and electric guitar. Phair with rapid, emotionless vocals describing the wonder of flying into Chicago as a movie and being n a Galaxie 500 video but that noise just disappears shortly later as she goes into that grid. I find it hard to believe that these songs are not personal as Phair says that they are based on fictional characters. Well, she comes out swinging lyrically, in your face, but there are more subdued songs. The focus of this album are the lyrics as she takes aim at early 90 guys, the social scene, the music scene and bad relationships but points the thumb backwards with living the humdrum life and random meaningless sex. Lo-fi is a good description of the music as it is tripped down with vocals being the only thing layered. There's a variety to music with acoustic and electric guitar-driven, bluesy, and piano-driven songs and even an electronic song. This is a great and original album. I don't think she topped this but I do like some of her later songs. Two days in a row for one of the best albums of the 90's (at least early 90's for this one).

"Neu! 75" is the third studio album by German krautrock band Neu! Krautrock, kosmische music, experimental rock, pyschedelic rock and proto-punk are the Wiki-listed genres. I'll just go with those. Neu! regrouped after bandmembers and former Kraftwerk bandmembers Michael Rother (electric guitar, bass, keyboards and vocals) and Klaus Dinger (drums, electric guitar, vocals) compromised their musical styles. Side one is Rother's ambient music and side two is Dinger's most aggressive and rock influenced music. "Isi" begins side one. It's an instrumental. Piano, drums and happy. The guitar comes in and this sounds like "A Ghost is Born"-era Wilco. Not a bad thing. "Seeland" has a more forward guitar. Anytime I hear water, it falls in the ambient genre and this is that. "Leb's Wohl" has a slow piano and drum beat. There's wave sounds, actual vocals and ends side one. Hey, we got rock starting with "Hero." Searing guitar, bass and drums. A guy, it must be Dinger, screaming. There's a punk attitude. "E. Musik" adds keyboards and a droning sound to a rock music base. Now, this sounds like Kraftwerk doing rock. The album ends with their most rockin' song in "After Eight." A melodic, driving guitar. Hypnotic, repetitive. Dinger screaming again. Layered guitars. I hear a number of bands. The music sounds like Wire and the vocals like Johnny Lydon in PiL. This is definitely an album of two sides; they both work for me. The first side is mostly instrumental and ambient. It has a distinct German sound. I was was also reminded of Brian Eno's music. The second side turns on the rock; it's has a punk and even post-punk edge. Wire, David Bowie came to mind. Overall, a very good album with most people at least liking the second, rockin' side.

"Nixon" is the fifth studio album by American rock band Lambchop. Their musical style is properly described as merging chamber pop, countrypolitan, R&B and "sweet" soul. The album was produced by bandmembers Kurt Wagner (vocals, guitar, synths, arrangements) and guitarist Mark Nevers. There are actually 13 people listed as bandmembers. The title "Nixon" refers to Richard Nixon as Wagner said the album's content was tragicomic. The album had highly positive reviews and, commercially, was their breakthrough in the UK reaching #60 on the charts. "The Old Gold Shoe" opens the album. People noise, a slow bass and guitar and Wagner's deep baritone voice. Strings are added. Nice arrangments. Wagner said this was based on his friend asking for a new pair of gold slippers and responding to the friend with the stereo talking to him. That's original. The guitar and beat give "Grumpus" a R&B feel. The synth and horns add some soul. The soulfulness meter is raised a bit as Wagner goes falsetto. People walk around in a fog and they need to wake up. Strings are moved to the forefront in "You Masculine You." A slashing guitar. Wagner's falsetto is all the way through. This sounds like early 70's soul. The song builds with the vocals and horns. Beautiful! Repeating, swirling sounds begin the first and only single "Up with the People." Electric guitars builds the pace. Handclaps and vocals are added. There's background female singers. There's a horn solo. I read this was about a traveling brigade of performers teaching family values. I've read several books with with similar traveling caravans. The album ends dark with "The Butcher Boy." Faster pace. More of a rock beat. Edgy guitar and horns. The song ends with a girl hanging herself and a suicide note. Didn't see this coming. There's a nice and beautiful sound to this album. Great arrangements of all the instruments and vocals. It successfully does mix baroque, soul, R&B and pop/rock. I didn't mind Wagner going falsetto at times to squeeze in some more soul to the music. I also didn't hear much country. With the baroque/chamber pop tilt, I can see why it was much bigger in the UK and pretty much non-existent in the US. This a very decent album especially if you're a chamber pop fan.

"Heros to Zeros" is the third and final studio album by Scottish musical group the Beta Band. Electronic and rock are the two Wiki-listed genres. They both fit. The album was produced by Nigel Godrich and the band. Commercially, it hit #18 in the UK. The first single, "Assessment" opens the album. Layered guitars, bass and drums in a straight-ahead rock sound. Layered vocals. He's struggling to say the things he wants to his girlfriend. Horns close the song very dramatically. It sounded very 80's-ish Hunters & Collectors. "Wonderful" starts out slow and subdued with weird synth sounds and a keyboard melody....pyschedelic. Drums kick in with the guitar now carrying the melody. There's a soft-loud back and forth. A dramatic outro with the vocals gets louder. A poor man's "Dry the Rain?" Actually, a decent song. "Outside" is the album's other single and a rockin' song. Rockin' in part since it similarly bounces back and forth between the loud and soft. 60's electric guitar, rapid drumming and sometimes a dog bark is the loud part. The slow part is echoing vocals and reverbing guitars. The band goes post-punk in "Liquid Bird" sampling the guitar part in Siousie and the Banshees' Painted Bird." They add strings halfway through. And synth strings and a falsetto start the next song "Simple." A pretty standard rock beat with handclaps settle in. High-pitched guitars are added. A vocal chorus repeating "can you hear me." One of the better songs on the album. I found this album having trouble identifying itself. The music styles between and sometimes within songs include straight-ahead rock, electronic, dreamy ambient, funky, bluesy, pyschedelic and post-punk. There's 60's-sounding guitars and 80's-soundings synths. No really bad songs but none great either....some very good ones but no "Dry the Rain." A decent album but I'd recommend their earlier albums and EP's.

"Slippery When Wet" is the third album by American rock band Bon Jovi. Glam metal, pop metal, pop rock and hard rock. Yep. Critics credit it as an album that turned heavy metal into a radio-friendly format and breakthrough for hair metal. For better or for worse. The big hits were written by Jon Bon Jovi (lead vocals, guitar), Richie Sambora (guitars, synths, backing vocals) and Desmond Child (songwriter). It was a massive success commercially staying at #1 in the US for eight weeks and it also made it up to #6 in the UK. It had generally positive reviews. A held guitar note and spiraling organ keys open the album and the song "Let It Rock." I think they were going for a Deep Purple intro. Sounds very 80's pop metal and overly produced. The band kicks it into a standard rock song. The loud chorus vocals go back and forth with "Woah" and "Let It Rock." The next song starts "Shot to the heart and you're to blame...You give love a bad name." Yeah, a strong, repetitive catchy chorus. Layered guitars and synths. This is the first single and really kickstarted the album commercially. A slow synth intro and that covered guitar with the talk box sound begins "Livin' on a Prayer." Another song with a loud vocal chorus and another one with a cursory guitar solo in mid song (that's most songs on this album). At least Tommy and Gina have each other if he doesn't make it as a guitarist. I wonder if he ever did? Jon compares himself to a cowboy thief in "Wanted Dead or Alive." The song was inspired by Bob Seger's "Turn the Page." They should have just covered that song. Oops, some other heavy metal band did that. More acoustic-guitar based. These lyrics sounded as ridiculous today as they did back in 1986. And, what would a 80's pop metal album be without a ballad. Enter "Never Say Goodbye." He doesn't want the best of times to go away. I will say Jon does give probably his best vocal performance on this song. On the positive side, the album has the guitar and general sound that the late 80's hair metal music would copy, catchy choruses and Jon Bon Jovi appears to be a very good guy. But, what really annoyed me on this album was: the very 80's sounding over-production and over-mixing, the hair metal guitar tricks (whammy bar, voice box), the overuse of loud and repetitive vocal choruses and the word "woah," the cursory mid-song guitar solo on every song, the cursory metal ballad and the memory of bad 80's music (hello Heart). If you can get past these, there's a chance you'll like the album as a whole.

"If I Should Fall from Grace with God" is the third studio album by Celtic folk-punk band the Pogues. The Pogues added three new members: Darryl Hunt replaced Cait O'Riordan on bass and added Phillip Chevron (guitar) and Terry Woods (cittern and other instruments). The band moved away from their folk/punk roots incorporating other styles including Turkish and Spanish influenced. The lyrical subjects included emigration from Ireland, returning to the home country and adopting to changes, Irish history and protecting children. The album was their best selling hitting #3 in the UK and was also critically acclaimed. The self-titled song "If I Should Fall from Grace with God" starts fast with an accordion. It's happy music. Great drumming and banjo picking. Shane MacGowan screaming. The band sounds like their having a party. The band brings a Middle Eastern/Turkish flair to "Turkish Song of the Dead." There's an edge to the music and I hear a lute. It's about a pirate who abandoned his ship, took the treasure and has a pay back coming. Singer Kirsty MacColl joins MacGowan in the wonderful duet "Fairytale of New York." Strings and piano. It's about a couple arguing at Christmas time. Apparently, this has been the most-played Christmas song in the UK in the 21st century. Guitarist Phil Chevron wrote "Thousand are Sailing." An anxious piano intro. The band kicks in. The fiddle blaring out. A great chorus. MacGowan at his best. Irish emigration to the US. It's been the most played Pogues-song that I've heard on US radio. The band fuses their folk style with Madness and Spanish/Mexican music in "Fiesta." Horns and the band is having another party. The Pogues go back to their traditional Celtic folk style in "The Broad Majestic Shannon." A man returns to Ireland after a long time away and finds that everything has changed. This is a fabulous album. The band starts fast and really never lets up. They're tight and appear to be having fun. MacGowan probably at his best. They tackle and add different styles. There are still a few traditional folk songs. Everything works for me. A high recommendation.

"Fema Kuti" is the third album by Nigerian musician Fema Kuti. This album introduced an international audience to afrobeat. The album was released on Motown's Tabu Records and was produced by Kuti and Andy Lyden. A sax, guitar and African beat open "Wonder Wonder." The sax is carrying the melody with an underlying bass. The horns are giving this a jazz vibe and the beat had a African-Jamaican flair. Vocals come in halfway and Kuti wonders if Africa will ever unite. "Frustrations" uses even more horns with a similar song structure. Kuti now stressing the frustrations of a young man making it in society. Kuti begins talking about his problems in "Stubbor Problems." Jazzy horns and the beat kick in. Singing comes in midway through the song. This is really a jazzy jam. The album closes with "Changes." Here the beat is more afrocentric. The bass is also more the forefront. There are societal changes that we all must accept and get back to life. These songs use a lot of horns and the music comes off more in the jazz genre. The beats tend to be African and Jamaican. Most of the songs are in the six and nine minute length range and come off as jazzy jams which is fine by me. The vocals are at spots in songs with the lyrics typically stressing something significant (religion, war, societal problems, young man issues). Overall, it was a really good album that I will definitely listen to again.

"The Renaissance" is the second studio album by American hip-hop artist and A Tribe Called Quest MC Q-Tip. Progressive hip hop. I'll agree. The album was the first album after an eight-year hiatus. It was primarily produced by Q-Tip. The album reached #11 on the US charts and had universal acclaim. A soulful synth, slow beat and Q-Tip rapping fast start "Johnny is Dead." Nice background female singers. This has a more soulful/R&B feel than hip hop. It's tough figuring things out for a young man. Johnny is Q-Tip's real name. The first single "Gettin' Up" continues the R&B vibe. A piano, soft rapping. A catchy melody and chorus in a love song. Scratching begins "Official." A mid-tempo beat. Q-Tip singing more than rapping in this soulful song. "Manwomanboogie" gets the groove and funk going with a deep bass. Great rapping by guest Amanda Davis. He samples the drums in Can's "Aspectacle." Unique song. Nora Jones guests in "Life is Better." She sounds different but very good in this R&B style. Q-Tip eventually joins in. The last song "Shaka" is loud with a hip hop beat. There's swirling/scratching synth sounds. Very Mac Miller. There's also echoing and eerie sounds.. very trippy and pyschedelic. The song is a salute to all the people that have helped Q-Tip out especially producer J Dilla. This album has just as much an soulful/R&B sound as it does hop hop. There's also elements of psychedelia and jazz. Q-Tip covers a variety of subjects not always heard in hip hop...romance, tributes, philosophy of life and a young man struggles. It's an easy and smooth listen. The songs are solid and really no fillers. It's another hip hop album that uses (not overuses) guest appearances appropriately. This is a strong album. Strong recommendation too.

"Groovin'" is the third album by American rock band the Young Rascals. Blue-eyed soul is the Wiki-listed genre. It's that and a lot more. Eight of the eleven songs were released as singles. The Young Rascals included Felix Cavaliere (vocals, keyboards, organs), Eddie Brigati (vocals, percussion), Gene Cornish (guitar, vocals, bass, harmonica, percussion) and Dino Danelli (drums, percussion). Commercially, the album reached #5 in the US. A prancing piano opens "A Girl Like You." Cavaliere strong on the vocals. Soulful with the horns. Great male and female backing vocals. Here's your blue-eyed soul. A dark, edgier guitar begins "Find Somebody." A tambourine and keys. They're venturing into pyschedelia on this one. Brigati on the vocals. Three songs, three different lead singers. Gene Cornish takes the reins on "I'm So Happy Now." Excellent vocals, horn accentuated. The drumbeat and music is very poppy 60's. The first side ends with the tremendous "How Can I Be Sure." Another prancing piano intro with Brigati on lead vocals. Strings and a trumpet. Wow, they've successfully gone cabaret/baroque. The self-titled "Groovin'" opens side two. Birds singing and a more Latin American beat welcome us in this chill song. A melancholic harmonica. It's the one song I had heard the most on this album. Just in case you wondered if they can rock, exhibit "You Better Run." Pounding drums, harder-edge guitar and Cavaliere wailing. Garage rock at its finest. The album closes with "It's Love." A swirling piano and, yes, flutist Hubert Laws enters the song. An interesting jazz-rock fusion of sorts. What makes this 1001 challenge worth it is when across an album you had little to no idea about and it blows you away. I've had it happen a handful of times and this is one of those albums: a fantastic album! There is so much to like here. Three different lead vocalists, all outstanding, as are harmonies and backing vocals. Yes, blue-eyed soul but also 60's pop, garage rock, pyschedelia, Latin American beats, R&B, ballads, jazzy and cabaret/ baroque pop. Eight of eleven songs were singles but the album has a great flow. No fillers. An album everyone needs to hear.

"Hypocrisy is the Greatest Luxury" is the debut album by alternative hip hop group the Disposable Heroes of Hiphoprisy. Industrial hip hop is the Wiki-listed genre. That'll work. The group is primarily composed of Michael Franti (vocals, production, miscellaneous instruments) and Rono Tse (percussion, drums, noise). The album had wide-spread critical acclaim. Hallelujah chanting begins "Satanic Reverses." Hard beats. Frenti's authoritative deep voice. Sounds bounce back and forth between a trumpet and industrial noises. This is very Public Enemy-like. The contrast between the progression of the world and the backwards conservative thinking of America. Well, nothing's changed in 32 years, Michael. The changing of tv stations opens "Television, the Drug of the Nation." Fast rapping. A melody driven by a sample of the Meteors' "Look-Ka-Py -Py." The song's title says it all. Franti goes bluesy in "Music and Politics." A jazzy, bluesy guitar. He's singing. Hey, this is how he sounds with Spearhead. Taking a look at himself through someone else's eyes and how he can't stop thinking about music and politics. They slow it down on the semi-cover of the Dead Kennedys' "California Über Alles." Frenti gives a more detailed critique of California politics in the late 70's. Good cover. The album closes with "Water Pistol Man." A piano sample of Walky Badarov's "Leaving This Place," a Cure-ish post-punk guitar and a hip hop beat create a unique sound. Frenti singing almost emotionless as he takes a deep look at himself and realizes he needs to take care of his own problems before solving the world's. This takes a serious tone and look at a lot of Frenti's perceived serious problems in 1992 (conservatism, bullying, Christianity, war, racism, violence, black society, drugs, immigration, pollution, politics, anti-gay and his own issues.) His deep voice is intense and perfect for the rap-singing he did. The music fuses hip hop with industrial, electronic and post-punk. This was a compelling listen. Highly recommended.

"Twelve Dreams of Dr. Sardonicus" is the fourth album by American rock band Spirit. Pyschedelic rock and progressive rock are the Wiki-listed genres. I thought of a few more. The album was produced by David Briggs who had worked with Neil Young. The bandmembers on this album were Jay Ferguson (of "Thunder Island" fame on vocals, percussion, keyboards), Randy California (guitars, vocals, bass), John Locke (keyboards), Mark Andes (bass, vocals) and Ed Cassidy (drums, percussion). Commercially, the album hit #63 in the US and #29 in the UK but sold well after its initial release due the success of "Nature's Way." It also had significant airplay on college radio. "Prelude - Nothin' to Hide" opens the album. Acoustic guitar and nice harmonization. The band kicks in with a rollicking piano. There's a dobro. A bluesy guitar and jam. Lasers and horns...kind of pyschedelic. Their big hit "Nature's Way" brings the cowbell. Maybe a top five cowbell song. Acoustic and electric guitars. The overall vocals (lead, backing, harmonies) are the highlight here. It's nature way they wrote the song. Amen, Brother. A Doors-like synth opens "Mr. Skin." Why do I picture immediately Mr. Clean when I read that title. A bluesy jam and more cowbell. "When I Touch You" begins with a laugh, a pyschedelic synth and a searing guitar. A plodding bass. This covers a lot of ground. It's hard rock, pyschedelic and prog. It builds. Hey, this might be one of the first stoner rock songs. One of the best songs on the album. Another good one is "Life Has Just Begun." A great guitar melody and vocals. It's a romance song. There a lot to like about this album. They successfully hit the rock, pyschedelic, prog rock and stoner/spacey rock genres without really staying in them for too long. There's great lead and backing vocals and harmonies. The musicians are solid. There are three, maybe four, great songs. The rest are decent. This album was supposedly known for its use of the moog synthesizer but I really only heard it in the instrumental song. Overall, it's worth a listen given those three or four strong songs.

"Dance Mania Vol. 1"is a studio album by American musician, songwriter, bandleader, timbalero and record producer Tito Puente. The genre is mambo from the king of mambo. The album was produced by Mickey Crofford. Puente played timbales, vibraphone and marimba. His band included seven trumpters, four saxophonists, three vocalists, two congueros, a bongosero, a pianist and a bassist. This album was Puente's best selling album. It also marked the debut of vocalist Santitos Colón. In 2002, it was inducted into the National Recording Registry by the Library of Congress for its artistic significance. "El Cayuco" begins the party. It's a son montuno written by Puente. Loud, multiple horns in complex arrangements. A Latin beat. There's a piano solo. A vocal chorus led by the wonderful tenor voice of Colón. "3-D Mambo" is a mambo-jazz instrumental. Horns and the piano again. The beat led by Puente on the timbales. In "Hong Kong Mambo," Puente leads the band and the beat on the marimba. Trumpet blast and a marimba jam. The band covers the 1927 song "Varsity Drag" and turns it into another mambo-jazz instrumental. More layered horns and a piano solo. "Estoy Siempre Junto a Ti" changes the vibe a bit in a romantic bolero. Sultry horns. A slower beat. Colón as the singular vocalist. This time Puente struts his stuff on vibraphone. This was a lot of fun: the onslaught of multiple horns and complex arrangements, Latin beats, Punte's expertise on the timbales, vibraphone and marimba and the incredible vocals of Santitos Colón. It's never boring with short songs. I found it fascinating just listening to the Latin beats and instrumentation. I'm a novice in this style of music but enjoyed learning the different styles...mambo, son montuno, bolero, guaguanco, guaracha and cha cha cha Bembé. I can't imagine anyone not enjoying this music to some extent. Wait a minute, I just have to think back a few days ago...there may be a few.

"Bookends" is the fourth studio albums by American folk rock duo Simon & Garfunkel. The first side is in the concept album format style exploring the life cycle journey from childhood to old age. The second side has songs which were previously singles or unused martial from the movie "The Graduate." The lyrics on side one deal with youth, disillusionment, relationships, old age and mortality. It did well commercially hitting #1 in both the US and UK. Critically, it was cited as their breakthrough moving them to the forefront of the 1960's counterculture movement (alongside others). The album begins with the short acoustic guitar instrumental "Bookends." This song leads to the pyschedelic "Save the Life of My Child." Electronic and a moog synthesizer. I wasn't expecting Pink Floyd and Sgt. Peppers but here it is. Youth and drugs, violence and suicide. A dark interesting song. They continue the Sgt. Peppers' theme with a very Beatle-esque drum beat in the wonderful "America." Acoustic guitar, a flute and an organ. Great lead and backing vocals by the duo as they describe two young lovers as they take a bus to physically see the country they feared has disappeared. Side one comes full circle or cycle and ends with "Bookends." This time with vocals. "Fakin' It" opens the singles-laden second side. Acoustic guitar and a handclap beat. They like the use of the handclap. Simon's mulling over his insecurities and shortcomings. Soaring vocals at the end. Acoustic guitar, bass and another handclap-shuffle beat musically anchor "Mrs. Robinson," written for "The Graduate." The "do-do- do's" and "da-da-da's" are an homage to the Beatles' '"I am Walrus." I do like the Lemonheads' punkish version. I also like the Bangles' version of "A Hazy Shade of Winter" but this original version is pretty great too. Great guitar riff and harmonization. Tambourine, congas, horns and strings. One of the better songs capturing the mood of the title. This may be my favorite Simon & Garfunkel. The first side is definitely influenced by the Beatles. They use strings, horns and synths but in no way is this baroque and they settle in to their unique folk-rock sound. There are are short, tight songs and I always appreciate the shorter albums doing this challenge. This one clocking in at 29 minutes. I didn't mind the disjointedness to some extent of the concept-album and single album sides. The quality of the songs stands out. A very strong recommendation from me.

"Eliminator" is the eighth studio album by American rock band ZZ Top. Bandleader, guitarist and vocalist Billy Gibbons had become a big fan of new wave artists Depeche Mode and OMD and wanted to take his blues-rock band in that direction. On this album, he increased the tempo and used more synthesizers and drum machines. Most of the album was written by Gibbons and pre-production engineer Linden Hudson. Bassist and vocalist Dusty Hill and drummer Frank Beard complete the band formally. Other key musicians during the recording included Hudson (synths) and Terry Manning (electronic drums and bass and drum machine). It worked commercially reaching #3 in the UK and #9 in the US and became their best selling album. The first single "Gimme All Your Lovin'" opens the album with an electronic drum beat which goes to a guitar jam. Weird synth noises in the background. Layered guitars and a guitar solo. Highly produced. Yes, this was what Gibbons was looking for. The pace quickens on "Got Me Under Pressure." An electronic bass. A growling guitar. She's got him under pressure. And then there's "Sharp Dressed Men." Hello MTV. A great guitar riff carries this song. I think there's a mixture of electronic and real drums. I give up at this point trying to figure that out. Nice vocal additions. Side two blasts off with "Legs." Layered and slick. They get the groove going. Another great guitar riff and solo by Gibbons. Oh, I did like the video. Mid-80's synth-rock at finest (that can be very good or very bad depending on...) They slow down the pace a bit and bring a more bluesy guitar in "TV Dinner." 80's-sounding synth keys giving this more a new wave sound. He's getting sick eating those tv dinners. Well,well, well, this is a highly produced album with a very clean guutar sound. I gave up after awhile trying to figure if the instruments were real or electronic; it doesn't matter, Gibbons got the slick, highly produced and successful album he was looking for. Oh, there are very catchy riffs and the hit songs are still fun to listen to. They took full advantage of the MTV video era to successfully establish their image. Hey, what's not to like about an album with songs about girls and tv dinners. Well, actually, the synthesized beats and production got kind of old for me in the end. But, the hit songs still sounded cheesy and good to me. I think everyone reading this knows where they stand on mid-80's ZZ Top.

"Led Zeppelin II" is the second album by English rock band Led Zeppelin. The album continues the band's evolving musical style of blues-derived material and guitar riffed-based sound on what many consider their heaviest. Each song was separately written, recorded, mixed and produced at various studios in the US and UK while on tour. Amazingly, it was initially not well-received by critics but became regarded as a quintessential hard rock and heavy metal album. The album was a big commercial success reaching #1 in both the US and UK. The album opens with a guitar-riff, bass and lead singer Robert Plant screaming "You need coolin'" in "Whole Lotta Love." Overlayed slide guitars. Drums, cymbals and echoing vocals also give this rockin' sing a trippiness to it. Parts of the lyrics were taken from Willie Dixon's "You Need Love." Soft vocals and drums begins "What Is and What Should Never Be." The song builds and has that soft-loud-soft dynamic. The guitar stereo effects adds to a pyschedelic vibe. Plant wrote this about a romance he had with a journalist's wife's younger sister. Plant continues the romance with a song about his wife in "Thank You." Jimmy Page on acoustic guitar and John Paul Jones on the Hammond organ. John Bonham with a soft drum beat. A heartfelt song with great vocals and even harmony vocals by Page. An organ fade ends the song. The classic guitar riff blasts open side two and "Heartbreaker." An great, unaccompanied guitar solo sounding a little different since it was recorded at a different location than the rest of the song. "Ramble On" was inspired by J.R.R. Tolkien (and not the last one). Acoustic guitar strumming and bass. The band kicks in. Layered with electric guitars. One of their best. Yes, this album is hard rock and heavy but there's elements of blues, trippiness and pyschedelic. Tremendous guitar solos and riffs by Jimmy Page. I will used the clichéd the sum is greater than parts as each of the musicians is vital to the overall sound. It's a great album to listen to on headphones and loud on your speakers to check out the stereo effects of the songs. A classic in every sense of the word.

"Bright Flight" is the fourth album by American indie rock band Silver Jews. Silver Jews are led by vocalist and guitarist David Berman. Other bandmembers included Berman's wife Cassie Berman (vocals, bass), William Tyler (guitar, vocals), Mike Fellows (bass), Tim Barnes (drums, percussion), Paul Niedhaus (pedal steel guitar) and Tony Crow (piano, organ, synthesizers, vocals). The album was recorded in Nashville as the Bermans had just moved there from Kentucky. Piano keys and David Berman's low voice opens "Slow Education." Berman's voice is half-singing and half-talking. The pedal steel guitar in this song and many of the songs on the album give an alt-country vibe. Nice backing vocals by Cassie. I think he's talking about the imperfection of human nature. Things get darker with the guitar and Berman's voice and lyrics in "Time Will Break the World." This feels like Southern gothic. Berman has apocalyptic visions including heinous acts by his Father. "I Remember Me" starts out sparse with a strumming guitar and soft beat. A young love is born, lost during a coma and then remembered. The music follows the lyrics and picks up when he remembers. "Tennessee" is an autobiographical song as David gets his girl, Cassie, leaves Kentucky and moves to Nashville. Light acoustic guitar and Cassie contributes as co-lead vocalists with David. The album ends on a down note with "Death of an Heir of Sorrows." Softer music. David's deadpan voice tells the story of the death of his friend and writer Robert Bingham. The overriding musical style on the album was alt-country with the steel pedal and acoustic guitars; no surprise given the Bermans had just moved to Nashville. The music combined with lyrics and vocals was also very Southern gothic. Berman's lyrics are poetic with images of Americana and also very personal hinting at drug addiction and depression. Berman would attempt suicide a few years after this album. Every Silver Jews' album is worth a listen and this is a very good one.

"Survivor" is the third studio album by American girl group Destiny's Child. Prior to the album, group members LeToya Luckett and LaTavia Robinson departed the group and were replaced by Farrah Franklin and Michelle Williams. Of course, the group still retained Beyoncé Knowles who produced and co-wrote almost all the songs on this album. Other producers included Anthony Dent, Damon Elliot, Mark J. Feist, Rob Fusari and Keybeats. The music is R&B/pop incorporating elements of dance, funk and hip hop. The lyrics address dynamics between women, self-esteem, independence and romantic relationships. The album had generally positive reviews and, commercially, hit #1 in the US and UK. The album opens with "Independent Women Part I" which was used and partly written for the movie "Charlie's Angels." A start-stop beat and melody. Strings in the background. Soaring lead and backing vocals. Nice production. It's about empowerment. The lead single "Survivor" was written after a radio station wondered how Destiny's Child is going to survive after two of the three members left. Of course, the real answer is that you have Beyoncé but the girls also address this in this song. Quick beats layered with a hip hop beat. Looped strings. This is a really good song. The guitar riff from Streie Nick's "Edge of Seventeen" carries on throughout "Bootylicious." Complex beats. "Come dance with me tonight. I don't think you're ready for this jelly." They continue to successfully and creatively use samples of two songs in "Nasty." More layered stop-stop abd electronic beats. The melody is a sample of Salt-N-Pepa's "Push It." And, they finish with another melody sample of Baltimore's "Tarzan Boy." You knew a ballad was coming and we get it with a cover of the Robin and Barry Gibb's "Emotion." Acoustic guitar. Finger snapping beat. Strong vocals by Beyoncé as she expresses wanting her man back There is a high level of production with the beats, melodies and vocal arrangements. There are a catchy songs. Very strong lead and backing vocals. It does suffer the cd-era trend and should have been trimmed a bit. Overall, this a solid R&B/pop album of its time. Beyoncé would obviously go on to bigger things but this one is worth a listen if just for their hit songs.

"The Bootleg Series Vol. 4: Bob Dylan Live 1966 The "Royal Albert Hall" Concert" is a two-disc live album by Bob Dylan. It was the second installment of the Bootleg Series. Early bootlegs attributed the recording to having take place at the Royal Albert Hall but it actually took place at the Manchester Free Trade Hall during Dylan's 1966 tour. The album is divided into two parts. Disc one is Dylan solo and acoustic. The second disc has Dylan plugged in electrically playing with the Hawks (who would later go on to be the Band). Many critics considered this album a document in the development of popular music in the 1960's (from folk to rock). Commercially, the album hit #18 in the UK upon its 1998 release. The acoustic disc opens with "She Belongs to Me" from "Brining It All Back Home." Audience clapping cedes to the Dylan's voice and an acoustic guitar. A long harmonica outre. The crowd remains dead silent during the playing of "Visions of Johanna." Dylans takes it down a notch during the epic "Desolation Row." A thunderous applause afterwards. The electric disc opens with the first-time-on-an-album "Tell Me, Momma." The band is fiddling around with the guitar and then kicks it in. A bluesy stomp. Guitarist Robbie Robertson stands out. Another highlight on this side is "Leopard-Skin Pill-Box Hat." This sounds a lot like the early Rolling Stones. A soulful organ and bluesy piano. The album has to and does end with an eight-minute "Like a Rolling Stone." The band is on fire, very inspired. Levon Helm on drums!!!! The acoustic side is bare with Dylan's voice, harmonica and acoustic guitar. Dylan is weaving his vocals to a very attentative crowd. The clarity of this recording, especially his voice, is remarkable. The second electric side fused Dylan's folk with a high-level rockin' band. Dylan didn't tone down his harmonica. At times, they sound like a bluesy jam band. Most of the playing is very inspired. On the recording, I didn't hear the apparent disgruntled taunting. Oh well, there was a big applause after "Like a Rolling Stone." This is an exceptional album. An album everyone needs a listen to.

Abbey Road" is the 11th studio and final recorded album by English rock band the Beatles. The album incorporates rock, blues and progressive rock musical styles and uses prominently the Moog synthesizer and guitars played through a Leslie speaker. It is also known for its long medley on side two. George Martin agreed to produce the album if he was allowed to produce the album in the same manner he did on earlier albums and with discipline. There were tense personnel issues among the bandmembers particularly Lennon and McCartney. Surprisingly, the album received mixed reviews upon its release with criticism towards the production's artificial effects. Today it is considered a masterpiece and one of the best albums of all time. Commercially, it hit #1 in the US and UK. A drum beat, bass line and rattle open "Come Together." At least I think that what it is but also foreshadows all the little details and creativity that makes this such a compelling listen. A John Lennon song. A fuzzy bass and swampy feel. A counterculture figure. Is it John or someone else? He does allude to Yoko. The only single, George Harrison's "Something," comes next. Inspired by a James Taylor album and initially offered to Joe Cocker. Billy Preston on organ. Lennon on piano. Harrison with great vocals and guitar solo. And why wouldn't Ringo be in Sardinia on Peter Sellar's yacht discussing how octpuses live underneath the surface. Thank God, cause we get "Octopus's Garden." We needed a fun song at this point. Ringo's deadpan voice. Another spot-on Harrison guitar solo. George really shines on this album. Just to make sure they weren't missing out on the music of the day, they go Beatle-prog on Lennon's "I Want You (She's So Heavy)." At 7:47, the guitar and band overall does sound heavy. Billy Preston making another key appearance on the organ. I've always loved that little break with McCartney's bass and the ensuing yelling of "She's So..." A song about Yoko. Harrison brings the album to a crest with "Here Comes the Sun." Soft, melodic and gentle. Harrison wrote this while in Eric Clapton's garden during s break. No Lennon. The last third of this album is an eight-song sixteen-minute medley. Many think this medley was about selfishness and self-gratification. "You Never Give Me Money" kicks it off. A piano ballad which goes darker and harder. McCartney's voice deepens. It's about a dispute with a businessman. Lots of interesting characters throughout this medley including Mr. Mustard and Polythene Pam. We also meet a fan who climbed in through McCartney's bathroom window to steal stuff. The production becomes big in "Golden Slumbers" with strings and bass and one of Paul's best Beatle vocal songs. The band knew it would be hard to live up to what they could do individually compared to as the Beatles in "Carry that Weight." It's appropriate they got to to do solos, even Ringo, on their last song "The End." And what did Paul really mean with "the love you take is equal to the love you make?" There are so many different and creative musical sounds and vocals throughout this album. Just tremendous production. Could they or anyone do this live? Who cares! It sounds good as it is. George Harrison emerged with maybe the two best songs on the album. The medley was an appropriate and original way to go out. An epic achievement in every sense.

"A Nod Is As Good As a Wink...To a Blind Horse" is the third album and second in 1971 by British rock group by Faces. Faces were formed by members of the Small Faces Ronnie Lane (bass, acoustic guitar, lead vocals), Ian McLagen (piano, organ, backing vocals) and Kenny Jones (drums, percussion) and Rod Stewart (lead vocals, harmonica) and Ronnie Wood (guitars, harmonica, backing vocals). It was their most successful album reaching #6 in the US and #2 in the UK. A bluesy guitar and a howl start the album and "Miss Judy's Farm." Piano, bass and drums are added. A down and dirty sound. Rod Stewart's distinctive voice. A nice speed up at the end. Ronnie Lane takes over the lead vocals in "You're so Rude." Slower with the piano and organ. A rollicking bluesy groove. An organ and harmonica jam. The band just jams out in "Stay With Me." Wood's famous guitar riff intro. Layered guitars. Stewart in one of his finest moments. "And in the morning, don't tell me you love cause you know I'll only kick you out the door." The band continues to crest with the side two opener "Debris." Lane on lead and Stewart on backing vocals. Acoustic and layered guitars. A bluesy, melancholic ballad. Beautiful song. Wood on a unhinged slide guitar begins the closer "That's All You Need." That guitar continues througout the song. The band joins in and it's a jam. Definitely, their most original song on the album. It's hard not listen to album and not hear the 70's Rolling Stones and I guess that's Wood's influence and great guitar playing. Bluesy-rock romps and ballads. Each of the band members shine. The band is tight and they sound great. Oh, if Rod Stewart could have stayed the course with music like this. This is an excellent album.

"Mama's Gun" is the second studio album by American singer Erykah Badu. The Wiki-listed musical genre is neo-soul incorporating elements of funk, soul and jazz. I'll agree with that. The lyrics are more confessional than her previous album and address insecurity, personal relationships and social issues. There were a host of producers including Badu, James Poyser and Questlove. The album received generally positive reviews and, commercially, hit #11 in the US and #76 in the UK. Whispering opens "Penitentiary Philosophy" which picks up with a funky guitar and soulful organ. The song slowly builds and ends with loud guitars, backing vocals and Badu screaming. The second song and single "Didn't Cha Know" is more chill. Bass and percussion lead the way. She is struggling and needs to get out of a relationship. The third single "Cleva" brings the jazzy side to this neo-soul album. Piano led, a bouncey bass, jazzy drums and a xylophone. She may not look good but she makes it fly cause she's cleva. An acoustic guitar begins "In Love With You." It's a duet with Badu and Stephen Marley. A romantic song with fingersnapping keeping the beat. Marley scatting a bit. The next song and first single "Bag Lady" keeps the chill vibe. Drums and a sparse electric guitar. The bass picks the pace up a bit and Badu as trying to get over a relationship. Backing vocals, more guitar and the song soars to the end. Great song structure. Badu leaves no doubt that Billie Holiday has to be a major influence in the last song "Green Eyes." Vinly- dust sound and Badu singing opens the song...very 1930's/1940's jazz. Piano, flute, horns. It's a song about her breakup with André Benjamin. This is a really solid album. Souful, jazzy and chill (hence it's neo-soul classification). I like the way the songs feature different instruments (piano, bass, horns, acoustic and electric guitars, drums). The production is on the mark most of the time. Badu has a very, nice souful voice. I do see the Billie Holiday comparisons. A CD-era album so its perhaps overly long but the music is so chill I didnt mind it as much. If you're a jazz, soul or R&B fan, it's an album worth checking out.

"Bad" is the seventh studio album and the follow-up to "Thriller" by American singer-songwriter Michael Jackson. It was third and final collaboration with Quincy Jones. Jackson wanted an edgier image and tried to incorporate musical styles of rock, pop, funk, R&B, dance and soul. His lyrical themes included media bias, paranoia, racial profiling, romance, self improvement and world peace. Jackson wrote all but two of the songs. Commercially, it was a massive success hitting #1 in the US and UK and in 24 countries overall. It was also critically well-received for Jackson's vocals and the polished production. A horn and an electronic bass and drums begin the album on "Bad." Jackson's vocals are low. This is a little edgier. The synth lightens it up a bit. A keyboard jam. Supposedly, it was inspired by an article written about a boy from the ghetto who goes away to school, comes back and is killed. I didn't hear that much of an edge to it. "The Way You Make Me Feel" starts off with a repetitive and hypnotic beat. Lots of shrieks from Jackson. A very catchy chorus and nice horn arrangements. One of Jackson's best songs. One of the two songs Jackson didn't write but he may have put his best performance on is "Man in the Mirror." High synth keys and fingersnaps. Layered vocals leading to gospel choir backing vocals. Jackson's vocals build as he has to make a change from the man he sees. "Dirty Diana" starts dark with the synth and various noises. Steve Stephens on guitar with various slashes and riffs throughout. Diana is a groupie and things happen after the concert ends. It's hard to listen to "Smooth Criminal" and not hear the Alien Ant Farm version. A very catching synth melody and beat. Great guitar by David Williams. Another darker song that works. Annie is attacked by a smooth criminal. Is she OK? Is she walking?One of my favorite Jackson songs. It's hard to imagine an album today releasing 10 of its 11 songs as singles unless your name is Taylor. Well, most of these songs do work. Jackson does cover a fair bit of ground lyrically and stylistically too. Very high production by Jones. There are a few songs stuck in the 80's and some don't work (hey there Stevie Wonder). Great use of the electronic synth for melody and the beats and, also, the horn and vocal arrangements. It may not have the high points of "Thriller" or "Off the Wall," but it's a very solid pop album.

"The Madcap Laughs" is the debut solo album by English singer-songwriter, musician and former Pink Floyd member Syd Barrett. The music can be categorized by mixing and matching any of the four genres: pop, rock, pyschedelic and folk. The recording process was long and appears to have various tedious given Barrett's state of mind over that time. Five different producers were used including Barrett, Peter Jenner, Malcolm Jones, David Gilmore and Roger Waters. Barrett sang lead vocals and played guitars. Other musicians included members from the Soft Machine, Joker's Wild and David Gilmore. The album was well-received critically and, commercially, hit #40 in the UK. Acoustic vocals and clear vocals by Barrett open the album in "Terrapin." An underlying electric guitar guitar. Interesting lyrics as he talks about two fish in love. Barrett brings the pyschedelic rock in "No Man's Land." Layered 60's-sounding electric guitars. Bass, drums. Barrett is talking fast. About WWI, I'm guessing. "Here I Go" is a nice acoustic song with bouncey drums. Barrett in a deadpan voice. The sole single was "Octopus." A hard strumming acoustic guitar. Soft drums. Echoing vocals. Pyschedelic pop. A man at the border... of madness? He talks about octopus rides too. The last four songs are short and acoustic. "She Took a Long Cold Look" caught my attention with lyrics thst appear to be about taking drugs and being in Pink Floyd. This album mostly worked work for me. Short, acoustic, catchy songs in the pyschedelic pop category. As one would imagine, the lyrics are all over the place. Some of these songs probably didn't need to be on an album but, hey, they are a documentation of Barrett at this time. It's an album that early Pink Floyd fans should like. I'm not sure about anyone else.

"Devotional Songs" is a studio album by Pakistani singer-songwriter and music director Nusrat Fateh Ali Khan. He is know as the greatest qawwali (Sufi Islamic Devotional singing) singer of his generation. He became known to a larger Western audience through Peter Gabriel's Real World label and his performance at the 1983 WOMAD festival in London. He also worked with Eddie Vedder on two songs for the film "Dead Man Walking." "Allah Hoo Allah Hoo" opens the album. Acoustic instruments and a repeating and hypnotic beat created by handclaps and tabla. Very happy sounding. A chorus of various voices and rising above everything is Khan's soaring voice. "All Maula Ali Maula Ali Dam Dam" slows it down a bit. Still the same instruments and musical vibe. This song starts with a more melancholy feel and just builds with the backing singers and louder handclaps. Outstanding. The album closes with "Ni Main Jogi De Naal." This is a singalong with Khan singing a line and the chorus repeating. Simple hanclaps, tabla and a single acoustic instrument. They sound like they are having a blast. This song belongs in a Disney movie...maybe, it already is. This music on this album is hypnotic, uplifting and very enjoyable. At times, there's a Middle Eastern flair to it. Various acoustic instruments accompanied by repetitive hypnotic beats. Khan's soaring voice is just magical. Understanding the language is not necessary to feel his emotion. Outanding vocal arrangements in addition to Khan's vocals. This is an album that everyone will like.

"Youth & Young Manhood" is the debut album by American rock band Kings of Leon. The Wiki-listed genres of garage rock revival and Southern rock are appropriate at this stage of their career. The band is composed of three brothers and a cousin (all with the last name Followill). They released an EP "Holy Roller Novacaine" in 2002 which included four songs songs which would be on their debut. The album had generally positive reviews. Commercially, it did much better in the UK reaching #3 while only hitting #113 in the US. The album starts out with a garage-rock guitar-riff intro on "Red Morning." This is definitely garage rock, almost purposely sloppy and a cowbell too. A song about hookers. This is a good start. They crank the speed up on "Wasted Time." A faster version the Black Crowes. Guitar slashes and lead singer Caleb Followill almost rappin' as he tries to keep up with the speed. He's on to her and she's wasted her time trying to get him. "California Watching" is the most melodic song on the album. A pounding bass and some nice backing vocals...that's the first song that I've heard any. The second single released "Molly's Chamber" showcases the band at their most straight-forward rock and roll. It clocks in a little over two minutes. I interpreted the lyrics as the effects of the drug moly on the brain. The band goes with a bluesy stomp in "Holy Roller Novacaine." A screeching guitar solo and they bring in the ever-reliable handclaps. My favorite lyrics on the album as they tell the story of a priest who uses his powers to seduce women. I'm still trying to come to terms with the fact that there are two King of Leon albums in this 1,001??? On the positive side, I like this garage-rock, punk, Southern rock, bluesy and raw version of the band relative to the pop-rock alternative act that they would become. At times, they reminded me of the Black Crowes, Allman Brothers and the White Stripes. I guess I live in a cave with the lyrics and experiences that this upper teens-early 20's group were able to come up with - hookers, cocaine, moly, abusive priests and vast experiences in relationships. I do realize that they were assisted in the writing but I now have to believe that the movie "Kids" and tv show "Euphoria" depict real teenager scenes. Overall, this album was OK and a good start to their musical journey.

"In-A-Gadda-Da-Vida" is the second studio album by American rock band Iron Butterfly. The album is specifically known for its 17-minute title track which one critic coined "the epitome of heavy pyschedelic excess." The band is Doug Ingle (organ, lead vocals), Erik Brann (guitar, vocals), Ron Bushy (drums) and Lee Dorman (bass, vocals). The album was a massive commercial success hitting #4 in the US and the best selling album in the US in 1969. "Most Anything You Want" opens side one. The prominent organ. A bouncey beat. A nice guitar jam. Very much pop-rock pyschedelia. The best song on side one for me is "Termination." A fuzzy guitar and vocal harmonies. A Grateful Dead guitar riff. And a bells fade for the outro. And then we come to the main event on side two, "In-A-Gadda-Da-Vida" baby. Doug Ingle wrote the song while heavily drinking and drummer Ron Busty misinterpreted the slurred title of "In the Garden of Eden." The minimal lyrics tell of a love song from biblical Adam to Eve. The song opens with the hypnotic eerie organ. Some vocals and then we get to the body. This song does have a good groove which lasts for a good long time as well. We then successive jams of the guitar, drums and percussion. Vocals return at the end. Well, the first side has five pop/rock songs with a pyschedelic edge. Yes, the ever-present organ. Nothing great but nothing really bad either. It's all really about the title song isn't it. Self-indulgent? Yes! Too long? Yes! Still pretty cool? Yes! So, if you like the self-titled song, it's all you and the album is really an extended single.

"Déjà Vu" is the second studio album by Crosby, Stills and Nash and the first with Neil Young. The album was self-produced by the band members and most of the songs were recorded in individual sessions by those band members. The time frame for the members was dark with a death and break-ups with girlfriends. Critically, it had mixed reviews but, commercially, it was a huge success hitting #1 in the US and #5 in the UK and has been the biggest selling album in each member's career. In 2023, the album was selected by the Library of Congress into the National Recording Registry for its artistic significance. Acoustic guitar thumping opens "Carry On." Stephen Stills at the helm and lead vocals. A song broken into two parts. Those familiar harmonies. Part I finishes with the lyrics "Love is coming to us all." Stills gets the wah-wah guitar going in Part II and chases a girl. The second song switches to a Graham Nash song in "Teach Your Children." This has more a country feel with Jerry Garcia on steel pedal guitar. Nash wrote this after seeing a photo of a kid playing with a gun and questions the societal messages that parents are sending their children. Neil Young's vocals come to the forefront in "Helpless." It's slower with a background acoustic guitar and piano. The harmonies really take this song home. Young was inspired, so to say, by having polio as a kid and suffering permanent damage on his left side. One of my favorite Neil Young songs. Joni Mitchell wrote "Woodstock" without ever being there and the band captures the spirit. More harmonies and nice electric guitar. "They got to get back to the garden" A great Young lead guitar solo outro. The album needed a nice, happy song and Graham Nash delivers in "Our House." Simple vocals. The catchy "La-la-la-la" chorus. An ode to counter-culture domestic bliss living. Neil Young combines two Buffalo Springfield songs in the three-part ballad "Country Girl." A melancholy vibe. Some more harmony highlights and actually each band member takes turn on vocals. I have no idea what this song is about; there's a waitress, country girl and celebrity mentioned. There's no doubt denying the high level of very good to great songs on this album. Neil Young seemed to play a major part in the ones I liked. The harmonies and vocals are mostly at the forefront with the instruments in the background. This album is similar to their debut, in that besides the harmonies, this seems like four solo albums. The mood definitely has a darker edge though. Most of these songs have had lots of airplay on classic rock radio in the US and most these songs deserve it. This album sounded really good to me today and will do so for most people too.

"Liquid Swords" is the second solo album by American rapper and Wu-Tang Clan member Genius/GZA. The album samples dialogue heavily from the martial arts film "Shogun Assassin." It was recorded in fellow Wu-Tang member RZA's basement and RZA was the chief producer. Other Wu-Tang Clan members also contributed vocals to many of the songs. The album had critical acclaim for its lyricism and hypnotic musical style. Commercially, it hit #9 in the US. The song "Liquid Swords" opens with a dialogue sample from "Shogun Assassin" where a boy says the shogun is after his father. The music starts. A hypnotic, reverbed beat. GZA is laid back in his rap style and he is just better than the rest. "Cold World" features Inspectah Deck and Life. An eerie vibe in this song as they rap about a murder in NYC. A repeating sample of the Mothers of Invention's "Plastic People." "4th Chamber" features a host of the Wu-Tang Clan. Another song that starts out with dialogue from "Shogun Assassin." A droning sample from Willie Mitchell's "Groovin.'" The Clan takes turns rappin.' More gangland violence. Method Man appears on "Shadowboxin.'" Scratching. A melody sample of Ann Peebles' "Troubles, Heartaches & Sadness." The album ends with "I Gotcha Back." GZA wrote this for his nephew whose father was in jail. A interesting sample fusion of the Charmels' "As Long as I've Got You" and the 45 King's "Red Alert." The song ends ends with the final scene in "Shogun Assassin." There's an overriding dark, eerie and gritty atmosphere to these songs. The martial arts' dialgoue was unique and lended to the tone of the album. Great sampling selection. GZA has a more chill rap style. RZA does a fantastic job producing this album; it's an easy and smooth listen and ranks very high among Wu-Tang Clan member albums that I've heard.

"Abattoir Blues/The Lyre of Orpheus" is the 13th studio album by Australian rock band Nick Cave & the Bad Seeds. It is a double album with the first part '"Abattoir Blues" being a rocker and the second part "The Lyre of Orpheus" being quieter. One critic labeled it as a "bounty of gothic rock." The album was produced by Nick Launay and the band. Commercially, it hit #11 in the UK and #126 in the US. The first part of the album gets going right away with "Get Ready for Love." Loud and drving. Pounding bass and drums. Layered pyschedelic guitars. A gospel female backing choir which is pervasive throughout this first part. "Cannibal's Hymn" has a creeping bass and piano. In comes a strumming guitar and loud drums. The song builds. A wah-wah guitar. They're dinning with the cannibals. "There She Goes, My Beautiful World" is fast with a repetitive rhythmn. The gospel backing choir. A rollicking piano. By the end, the band is on full throttle. Cave wants to rule the world. The first single "Nature Boy" is the straight-forward" rocker. Catchy chorus and very melodic. The most radio-friendly song of this album for sure. The self-titled "The Lyre of Orpheus" opens with Cave singing a capella. Dark and eerie electric guitar, bass and drums. It's slower. Cave's voice is deeper. Very Tom Waits-esque. Cave tells the story of Orpheus, whose wife Eurydice dies by a snake bite, tries to convince Hades to let her live and afterwhich, she has to walk behind him playing the lyre. We get the flute in "Breathless." Yes! A catchy slow melodic ronantic song. It was the second single released. The ever-reliable handclaps open "Supernaturally." Fast pace and drums. This song could have been in the first part. It rolls on dramatically and reminded me of a traditional Celtic song. The album closes with the melancholic "O Children." A synth, acoustic guitar and the gospel female chorus is back. It was appropriate to end spiritually. Life with its greed and cruelty will always steal the innocence of youth. I think I've made my way through the majority of the Nick Cave & Bad Seeds' discography doing this challenge. There's a lot to this double album and, for the most part, was a compelling worthwhile listen. Yes, part I was full-throttle and loud. A critic's description of "gospel-punk" is appropriate. Guitar jams as Cave preaches and sings about cannibals, war, TV, the world and romance. The second part was mostly piano and acoustic guitar-driven. Melancholic and dramatic. Relationships seem to be the at the top of lyrical themes. There's a lot to absorb in this album in whole but I highly recommend it.

"Tonight's the Night" is the sixth studio album by Canadian-American singer-songwriter Neil Young. The album was recorded in 1973 but not released until 1975 since Young felt it was unfinished. It was also the third and final album of his ditch trilogy where Young tried to separate himself from his "Harvest" album due to his difficulty dealing with the success of that album. The album was a direct expression of grief by him and his bandmembers in dealing with the drug overdoses of Crazy Horse guitarist Danny Whitten and CSNY roadie Bruce Berry. Commercially, the album hit #25 in the US and #48 in the UK and, critically, is considered among his best albums. The album starts slowly with Young and other vocalists chanting the song title "Tonight's the Night." Very sparse music with guitars, bass and a drum. The song was inspired by and is fairly lyrically direct on the heroin overdose of roadie Bruce Berry. (The album does end with a similar reprise of this song). "World on a String" is a more grungy and chugging bluesy number with guitar and piano. Young's searching and struggling for something that matters and knows it's believing in yourself. The most straight-forward rockin' number on the first side is "Come on Baby Let's Go Downtown." It's a song written by Danny Whitten and actually sung by him from a 1970 concert. Edgy guitar and about an addict going downtown to score drugs. Not all songs are about despair as Young wrote "New Mama" to the mother, Carrie Snodgress, of their son Zeke. Nice harmonies in this folk song. A steel pedal guitar is added to "Tired Eyes" giving it an Americana feel. Young's talking and singing. More piano. A song based on a true story in Topanga Canyon where a cocaine drug deal goes bad resulting on a bunch of deaths. I find this album quite compelling. It's sparse, sloppy, open, bluesy and tired. Most the vocals are melancholic, emotional and strained. It does sound like a band getting drunk, recording songs and trying to deal with deaths in their group. No answers except the resultant music. I do put this album among Young's best but I could see how this could turn a lot of people off.

"The Man Who" is the second studio album by Scottish rock band Travis. This album was a change in musical direction away from the rockier tone of their debut album "Good Feeling." Wiki classified this genre as post-Britpop. They really should have called it Scottish emo. The album was recorded over six months in six different studios with producer Nigel Godrich. The band is Fran Healy (vocals, guitar, piano), Andy Dunlop (guitar), Dougie Payne (bass) and Neil Primose (drums). The album initially sold slowly and had mixed reviews but after the success of their single "Why Does It Always Rain in Me?" and their performance at the 1999 Glastonbury Festival, the album reached #1 in the UK and had positive retrospective reviews. The first single "Writing to Reach You" leads the album off. A wobbly lead guitar and melodic rhythm guitar. Healy has a high tenor voice and goes falsetto. He name checks Oasis' "Wonderall" and they give us an Oasis-like guitar solo. He's mixed up after a breakup. An electric guitar intro begins "Driftwood." A strumming acoustic rhythm guitar and melodic chorus. A pleasant song about someone who has all the potential but doesn't use it. "Turn" has echoing drums and a slashing guitar. Soaring vocals and they get the soft-loud-soft dynamic going in this melodic rockin' song. Their big hit "Why Does It Always Rain on Me?" has a violin intro. Catchy vocals. A happy-sounding song and avery good pop-music structure as it builds. Healy's best lyrics in the album and is based on his vacation experience in Israel where he went to a place that supposedly never rains and, of course, it rained the entire week he was there. The released singles, mentioned above, are very melodic and all decent songs. Healy has a very good voice and when he goes into soaring mode sounds a lot like Thom Yorke. Yet, on this album as a whole, there's way too many soft and ballad-type songs. Also concerning the lyrics, about midway through the album, I wanted to grab Healy, shake him and say "wake up and get on with your fucking life." Bad luck, failed relationships, not getting over relationships, unsuccessful friends....woah is me. Post-Britpop..no...it's emo at it's tear-dropping worst. I can only recommend this album for its released singles which individually are good songs.

"Bayou Country" is the second studio album by American rock band Creedence Clearwater Revival. I like the Wiki-listed genres' swamp rock, blues rock and Americana. CCR being the poster child for two of them. The recording process found seeds of discontent among the band as John Fogerty (lead vocalist, lead guitarist, harmonica, piano, percussion) took control at every level. It may have stemmed from the success of their first album after toiling around for ten years in different bands. Thr other bandmembers included Tom Fogerty (rhythm guitar, backing vocals), Stu Cook (bass) and Doug Clifford (drums). Commercially, it reached #7 in the US and #62 in the UK. The album also received generally positive reviews. A long droning sound opens "Born on the Bayou." That sound leads to a wobbly guitar, bass and drums. Fogerty's throaty voice comes in loud and authoritative. Bluesy, swampy and somewhat melodic. Fogerty wrote the song from meditating about life in the South as he was from Northern California. The band goes on a eight and half-minute blues jam in "Graveyard Train." It's plodding. Fogerty gets his harmonica out too. The band covers the Little Richard classic "Good Golly Miss Molly." Driving guitar and beat. Fogerty vocals fit perfectly for this song. A searing guitar solo too. What can you say about the classic "Proud Mary." Melodic with a great vocal chorus. A band sounding maybe the best as a band could. Fogerty wrote this song two days after he was discharged from the National Guard and was created with taking parts from different songs. The album ends with the bluesy stomp "Keep on Chooglin.'" Fogerty's guitar and harmonica are the stars. The lead song "Born on the Bayou" really sets the tone for the album. Most of the remaining songs are bluesy and grungy. One reviewer said that this album is two great songs and rest less than great songs. I was expecting that but disagree. I did not know Fogerty was such a good guitarist; he rips and sears it through most of this album with the band as the backbone. Some of the best vocals for this type of music. An album everyone should listen to even if just for the two hit songs but there's more beyond.

"Trio" is collaboration album by American singers Dolly Parton, Linda Ronstadt and Emmylou Harris. The trio attempted an album in 1970's but scheduling conflicts prevented it. This country-style album was produced by George Massenburg and included session musicians Albert Lee (guitars, mandolin) and Billy Payne (pianos, organs, harmonium). Commercially, the album hit #6 in the US and #60 in the UK and, critically, had positive reviews. Dolly Parton's "The Pain of Loving You" opens the album. Mandolin, piano and drum beat. The women harmonizing beautifully. A slide guitar and violin. This is very easy listening and enjoyable. They slow it down a bit on Phil Spector's "To Know Him is to Love Him." Softer harmonization. An interesting time signature of 12/8. I had to look that up since I couldn't quite get it. And yes, a love song and, of course, a Kona Hawaiian guitar solo. Dolly Parton takes the lead in her "Wild Flowers." The other woman on backing vocals. Violin and acoustic guitar. Dolly compares herself to wild flowers that cannot be contained. No, Dolly, you cannot be contained. It's Linda Ronstadt's turn on lead in the beautiful "Telling Me Lies." Linda Thompson wrote this and Ronstadt give a great emotional performance. A slow beat, slide guitar and piano. She just can't go on. What's not to like about this album? Tremendous individual, backing and harmony vocals by Dolly, Linda and Emmylou. The hidden all-stars might the ace-guitar and piano/organ playing by Payne and Lee. It's a pleasant and enjoyable listen that mostly everyone will like.

"The Joshua Tree" is the fifth album by Irish rock band U2. The album was produced by Brian Eno and Daniel Lanois. In contrast to the ambient "The Unforgettable Fire," the band aimed for a hard-hitting sound within the limitation of a conventional song structure. The band and album were influenced by "American and Irish roots with the sociopolitical lyrics embellished with spiritual imagery contrasting the "real" America with fascination of the "spiritual" America. Commercially, it hit #1 in both the US and UK and was critically well-received. In 2014, the album was put in the US National Recording Registry for its artistic significance. The album opens with "Where the Street's Have No Name." A droning synth leads to a repeating guitar arpeggio. The songs builds with the drums, bass and lead singer Bono coming in. The song was influenced by the status, religion and income, of a person living in Belfast being able to be determined by the street they live on. It's a song of hope and gets the album off to a flying start. The delayed guitar arpeggios continue in "I Still Haven't Found What I'm Looking For." Spiritual yearning. Great choir-like backing vocals. Bono initially takes a softer vocal approach in the lead single "With or Without You." Synths and an electronic drum beat. The bass enters and later on drums and guitar. The tension builds. A unique song structure in that there are no repeating sections. Bono is struggling handling both the life of a rock star and his domestic responsibilities. "Red Hill Mining Town" begins side two. A melodic repeating guitar line which leads to a very melodic song overall. Another song that builds with Bono's soaring vocals. A song about the 1984 UK mining strikes."One Tree Hill" was written as a tribute to roadie Greg Carroll who was killed in a motorcycle accident. Melodic song again ✔️. Strings are added too. It's the only song that U2 did not play on the ensuing tour. It's interesting (maybe a shame) that the only thing Gen Z probably knows about U2 is that they were forced to have their 2014 album on their phones and it was no "Joshua Tree" since they do have a few very good albums. I do remember the release of this album being a very big deal at the time and it lived up to its hype. They did achieve a big sound on this album. Bono gives maybe his best vocal performance-varied, loud, soft. The lyrics were a step up from previous album. Overreaching at times...sure. The one thing that I took away from today's listen was how good some of the deeper tracks are..."Exit," "Running to a Stand Still," and "Mother's of the Disappeared." Mostly everyone have strong opinions on U2 and, even I can't defend their albums from the past 25 years but this album stands up as a classic, has aged very well and deserves all its accolades.