I’ve heard this Radiohead song before. It’s most Radiohead songs. With only a couple exceptions.

From Young Americans to The Worst version of Across the Universe ever. How can such a great talent be so extremely hot or cold?

Listened while transferring a batch of beer from fermenter to keg. It did not distract me from anything I needed to pay attention to, so that’s a plus. I expected to want to turn this off, but it wasn’t that offensive, and if I’m being honest, I may have enjoyed a track or 2. Not that I looked up from what I was doing to check the song names. It’s not anything I’ll go back to intentionally.

Funky, rhythm driven pop with lots of sax and horn and Chic / Nile Rodgers style guitar. Sometimes has a little Latin flair. Plus I like marimba. This didn’t come across as New Wave to me: there’s no edginess, no heavy synth. Just bright, fun pop. I liked this way more than I thought I would.

Can't say enough about this record, so just this: I love it, and everything it led to and influenced decades down the line. It would be hard to imagine Uncle Tupelo, Son Volt, Wilco, Alt Country in general… without this happening first.

I love this album. Their sparse arrangements, her voice, their songs… all great and new sounding.

For bongo music this is good. But about 3 songs in I’m thinking, “Enough with the bongos already!” It’s fun to hear the samples that have been in later hip hop though.

Love the B3 and dig this record. Great for background tunes, or really paying attention in headphones.

One of my favorite albums of all time. Nothing had ever been recorded that sounded like this musically, lyrically, vocally. Pure genius.

While there are some classic tunes with the harmonies we love, I just don’t feel this is a 1001 level album. And stop it with that version of Do You Wanna Dance.

What a great rock and roll record. Almost a guilty pleasure, but damn, brilliant guitar, and nobody sings like David Lee Roth. VH’s best? Maybe not, but it still wants to be turned up LOUD and a accompanied by a shot and a beer. At LEAST one of each. And I never noticed that the drum into to Hot for Teacher kind of sounds kind of like a big muscle car engine idling.

Not much variety to what I’m hearing here. And I’m not much of a fan of SM except for Give me Don’t You (Forget About Me) and Alive and Kicking, which aren’t on this. This album isn’t for me.

Lust for Life and The Passenger get the glory, and they should as they are great songs, but the rest of the record shows a stretch for Iggy. Even the album cover shouts that this is going to be something that moves toward a more consumable product; more Pop than Iggy. Bowie is ever present (Tonight, Success,…). That said, a lot of this lacks the energy one expects from Iggy. But… Sixteen and Turn Blue get a bit… uncomfortable.

I love bossa nova, love Getz, love Spanish guitar,… love the album. It’s sexy af.

Started out thinking there’s not a lot here for me after the first 2 songs. But then I liked Selfish, a rap/hip hop/R&B song, also Wounds and Venom, the Asian tinged groove of 101 FM, and well, it turned out I liked a lot here. Hm.

Aside from Victoria, Mr. Churchill Says, and Arthur, there wasn’t much of interest to me. Nothing to Say is a straight up Beatles rip off.

Search and Destroy is one of my favorite songs of all time. It’s a perfect composition of genius lyrics (I’m a street walking cheetah with a heart full of napalm!), manic paced punk rock with some actual guitar chops, and the greatest Iggy delivery ever recorded - all growl and howl. Also, there are the other songs which are good.

Been a long time since I listened to this, and figured I’d give it an honest try. I didn’t originally like the record, but that was placing directly next to their earlier stuff, and probably tainted opinion with Love’s public persona. I actually enjoyed it. Granted it’s a departure, but it’s a polished well crafted album. Not great, but certainly enjoyable enough.

Even After All was the only song I was familiar with, and the only one I kind of liked. Ultra Stimulation got me optimistic that it might be a more dub reggae flavor, but nope.

I have avoided this record because I always want to avoid Kanye. But if I’m being truly objective, there were several parts of this record I liked: Power, All the Lights, and Runaway in particular. I’ll take some solace in knowing that each song has about 10 people credited so who knows how much of it is actually his creation.

Excellent reggae classic.

So many hits on one record! Timeless brilliance lyrically and melodically. And King’s voice is raspy, cozy, down to earth, sincere…

A bore. Start to finish. The best song in my opinion is Lullaby, but as the last track I was already looking forward to this record being done.

Mustaine’s vocals aren’t… that great. The guitar is pretty technically amazing but a bit “paint by numbers” - not much original happening there. Not the best Megadeth record, but it’s fine.

The best Kinks record with lots of really good songs. The production is a bit thin, which is a shame because there is a lot going on instrumentally but you can’t hear it very well.

Needles in the Camels Eye is a great tune. And much of this record is at the very least interesting. I get why this record is on the list.

American rock ‘n’ roll, baby! Tom Petty is a goddam national treasure. I could listen to this record (and have) over and over. And he even got better (Damn the Torpedoes)!

One of my favorite Cure records. Moody music for moody people.

Mostly jazz-sample backed rap. Lots of good tracks, it a bit repetitive after a bit. Still, taking rap in an interesting direction.

One has to be in the mood for Tom Waits but I can’t describe the mood. Today I wasn’t in it. However Clap Hands, Jockey Full of Bourbon, Time, and Downtown Train are good tunes nonetheless.

I don’t consider myself a Hendrix fan, and then I listen to a record and am blown away every time. So maybe I am.

Watts and Waterloo sandwich mostly OK tunes.

I liked the classical guitar bits. That is all.

Post punk band that I didn’t really like when I first heard them back in the 80’s but have grown to really like (not all, but enough). Good example of their better stuff.

Aside from the obvious songs (Imagine, Jealous Guy) this album is pretty ho hum.

This whole record is on my Asleep On The Plane playlist that I listened to when I was traveling almost weekly. It’s a favorite. I discovered it when I saw the video for Sexy Boy somewhere. It’s worth seeking.

I really like about half this record. Quite a lot actually. But the other half, well, I don’t. But I will listen again at least the half I like.

I looove this record. Lyrics, vocals, instrumentation, pristine recording. If you want to test your audio setup crank Peg at high volume.

Some songs I’d revisit (Into My Arms, People Ain’t No Good, …) Another very mood dependent record, this definitely requires a sort of melancholy or rainy Sunday morning situation.

This should be on a sliding scale by date starting at 5⭐️ from -25 to +6 days from Christmas. Then with very strict exceptions a 3⭐️. For the sake of this I’ll give it a 4.

One of my favorite records, there are so many great songs! I love the songwriting, the variety of song styles, his vocals, …

Unless on a dance floor, this is good headphones music while doing work.

Well, that was fine. Some fine songs. But I’ll probably forget I listened to it. And wouldn’t reach for it again.

Excellent record, never gets boring.

I really like Last Goodbye, and of course his version of Hallelujah is pretty great. Corpus Christi Carol is a bit irritating though. He really had a strong and expressive voice, it’s sad he didn’t get the chance to make more records.

When I Kissed the Teacher has a pretty high ick factor considering Bjork and Benny write it. ABBA churned out saccharine pop tunes like a highly optimized and efficient candy factory, but c’mon, this is pretty low quality, empty stuff.

Except for Come on Eileen this album is a dud. And if you’re going to cover Van Morrison bring something to it. Why is this on the list?

It’s just Yet Another Pet Shop Boys record.

An excellent record. Worthy of 1001? Not in my opinion. That’s not to detract from how good the record is, it’s just not something I think is more influential than derivative. That’s said, I will listen to it again, and I could imagine a live show would be fanatic.

Take Pretty Hate Machine and make it angrier, meaner, louder,… Perfect record for the time and still great.

Shining Star will forever be the song playing that Elaine dances badly to in Seinfeld, so it’s worth loving just for that. But the rest of this record is a lot of fun, and they are damn good musicians.

Aside from the blatantly offensive lyrics in a few of the songs, there some ok tracks. Not my thing, but I guess I can see why it’s in the list at least.

If I want to hear Burt Bacharach songs, I’d rather hear Dionne Warwick sing them. Karen Carpenter has the voice of an angel, and the arrangements are lush, but it’s such a 70’s AM sound that it just doesn’t stand the test of time. That said, We’ve Only Just Begun will always be a sentimental favorite.

I did not need to listen to this album before I die. I did not need to listen to it at all except maybe in a club in 2001.

Driving deep bass and pounding drums, loud guitar, aggressive vocals and political/social lyrics. This was pretty groundbreaking stuff and it hit damn hard. Play at high volume.

A really good Brit pop record, not great but pretty well crafted. Morning Glory is better, but this has all the elements: hooks, sing a long choruses, interesting if not classic guitar play.

We Will Fall should pull this down to 4 stars, but the rest of it is so damn good.

One of my favorite records of all time. And one of my favorite bands to see live. Anger, wit, social commentary - all at breakneck speed.

Insane energy, this must have been a great show to see live! As questionable a man as The Killer was, there’s no question he could rock a piano and the stage.

This record starts out so strong but kind of slouches into standard sounding singer/songwriter adult contempo. That said, Chapman has a great voice and solid music skills.

Kate Bush’s songs are love/hate for me. I really love some of them, but many I just can’t take. That doesn’t mean they’re bad if I don’t like them, just not for me. I think this is an excellent record so even though it’s not all stuff I like I appreciate what’s gone into it.

A personal favorite and a band that influenced a whole next generation of ska and punk.

I can get why this is on the list, and I enjoyed it as far as being a new exposure. But I’ll never listen to this again unless it’s on some Wes Anderson movie soundtrack.

A really fun listen, Young sounds great and band is solid. A great album? Maybe more of a really good record but short of “special”.

Quincy and the musicians get a 5 for this record. The songwriting is… well, they’re disco songs, so a 2. Jackson’s vocals are fantastic but he was a creep, or became a creep and that’s hard to look past. Averaging all that out, including weighting the categories… carry the one, divide by the total…

One of the most listenable Dylan records to me with several tracks I really enjoy. Tangled, Jack of Hearts, Simple Twist, Shelter,… I would go so far as to claim I’m a Dylan fan, but I do like this record.

Metallica’s record made for wide public consumption. And why not? It’s a business. But also the beginning of their drift towards suck. That said it’s still a rocker.

Easy 5. There aren’t enough superlatives to describe how great this record is. Hard rock, psychedelic, blues, catchy pop hooks, etc etc etc all with Hendrix’s distinctive voice and guitar defining a new direction of rock music.

I’d heard the Happy Mondays but never really paid attention. And I liked it more than I assumed I would. It’s not my flavor of synth, but generally pretty ok.

Elvis does have a pretty great voice, and a lot of this is a good listen. But some lyrics are, um, maybe not so cool… “That’s when I drag you home with me, girl. I’m gonna chain you to the wall.”

While there are some ok tunes on here, nothing stood out to me. I honestly found it somewhat forgettable.

I had to complete a mourning process for Minor Threat before being able to appreciate Fugazi. But they really are a pretty fantastic band. Ian MacKaye has the best yelling singing voice in the business, so I still have a hard time with his vocals when they are more “tuneful”.

I enjoyed about half of the record, but that doesn’t mean the rest is bad, just not my thing. I actually think the whole album is pretty good for what it is. Hip hop with a bit of funk. Are the interludes necessary?

My sister got me listening to Joni Mitchell when I was 10 or 11. Always been a fan of her amazing voice and lyrics. This is a great record, to me it’s only superseded by Ladies if the Canyon.

While definitely a landmark album, I’ve just never been a big fan. Strange Brew, Sunshine, ToBU are all great examples of the style I guess but I could take or leave them. But for the mark on rock and roll, a 4.

Strong record from the indie rock movement of the late 80’s college radio scene. 10 minutes of self indulgent Fools Gold can be forgiven.

This was such a HUGE a record in the MTV 80’s. It’s interesting to go back and listen. There’s such a distinct fuzzy tone with the dance-y beat layered under it there’s no mistaking it for anything else. Also, those vocals are pretty great. Still, is it GREAT? Hmm.

A bit tedious.

Brilliant. Genius. Been listening to this album for decades and will continue to revisit it for years to come.

Parliament starts with a minimum 5 stars for being Parliament. No subtractions on this record. Funk yeah!

I really like The Who. Except for this record. Is it a concept about a novelty record? Doesn’t matter all that much because I don’t care a whole lot for most of the songs anyway.

I liked “The Animist” especially and the rest of the record was interesting and it kept my attention.

There’s not a lot I like about MJ. Not the music, not his singing.

I have never tired of Sultans of Swing, it’s a perfect song with one of the best guitar solos of all time and Knopfler’s vocals maybe don’t get enough credit on that song. But this whole album is pretty damn fine, too. The buzzing dobro on the moody Water of Love and pretty much all of the guitar picking on every other song is great.

I remember liking this a lot more when it came out. Still a very good listen and still like it a lot and at the time it felt like a new direction for hip hop that combined a lot of elements of other styles I liked.

Quite a good record, and I really enjoy the style (trip-hop) but my preference is to Morcheeba and Massive Attack.

What I wanted to listen to today anyway. I love this record and have listed to it a thousand times. Fun, easy, interesting, jazz with a little swing to it.

If you’re not paying too much attention while this is on it’s not a bad record. The key is being somewhat distracted with it on and kind of tune into it sometimes. Then it isn’t always horrible.

Love the JAMC! Distinctive sound, good lyrics, never gets old.

It’s not a terrible song. It’s just the same song over and over. Her phrasing is always the same, the melodies too simple and repetitive. Some songs are either outright or verge on boring. Her lyrics are occasionally pretty ok, but still feel tweeny trying to be grown up. The National was an interesting and ambitious choice for a combination, but ultimately I don’t think it works. Her voice and Matt Berninger’s don’t quite go together in my opinion. A 2.5 rounded down.

I liked it then, and it’s ok now. Kind of groundbreaking at the time, so that’s valuable. A fun listen but more for nostalgic reasons.

Several very good tunes on this record, but this was about the point I had less interest in REM. I much preferred the earlier sound. Yeah, I hate to be that guy.

I get the feeling they were a punk band that looked over and saw what the Pogues were doing and thought, “Hmmmm, maybe that’s where things are going…” But then didn’t quite get there.

I was old of dreading listening to this but there several tracks I enjoyed. Yes, much of it is dated sounding but it’s still pretty OK for some of it. Good messages in the lyrics.

Never heard this before and a couple songs in was thinking, “This sounds like the guy from Arctic Monkeys but it can’t be.” And it was. And I like it!

A couple rock gems with the tight harmonies that define Queen and (now) classic Brian May guitar sonics. But overall too many songs that sound like show tunes or novelties.

Always liked this album and for more than just the great songs Hello in There and Angel from Montgomery. The storytelling and language are poignant and gritty, and even the goofy bits are somehow always OK. Because he’s John Prine, that’s why. It was a sad loss when he died.

“Desired Constellation” is OK (interesting that it was co-written), but the rest of the album sounds like experimental art school project. I like Bjorks voice, and she’s an interesting song writer, but it’s just too much.

I love this album, and it’s admittedly a bit of a nostalgia trip. The driving rhythm and urgency of Exodus to the relaxed persistence of Waiting in Vain show the masterful musicianship and songwriting that I think is often overlooked in reggae as a genre.

Always been a fan of this record and Zappa’s jazz arrangements (even still have a CD single with Peaches En Regalia / Lucille Has Messed My Mind Up). Sometimes it seems so unlikely that the same guy who created Sheik Yerbouti and Joes Garage also created Peaches, Little Umbrellas, and It Must be a Camel.

Hip hop/rap has generally been a bit of a blind spot for me. But I hear a record like this it definitely occurs that I’ve been missing something. Plus a hardcore punk song!!!!!!? I’ll be listening to this again.

I like Neil Young, but not sure why this album is included in this list. It’s a bit of a bore, buoyed only by For the Turnstiles and Ambulance Blues. IMHO. Sorry Neil.

On one hand, this is a Morrissey album with songs that just sound like most Morrissey albums. On the other, I really like Morrissey albums.

Even though he doesn’t appear in this brilliant record from Dave Grohl, it’s eerily strange that Taylor Hawkins died this same day. Love this record, love Dave Grohl, love FF. RIP TH ☹️

Prog rock may be my least favorite music style. This album helps confirm that. Sure Roundabout is a classic, Mood for a Day is nice, and a couple other listenable bits, but nah, not my thing.

Led Zeppelin is fine. Not sure I had to listen to this before I die. No denying it’s fantastic rock/blues with brilliant guitar, drums, and Plant vocals at their best. Just not my favorite music. So 3 to me, probably a 5 to those who are fans.

Despite the several songs in which her warbly trilling hits the exact resonant frequency that vibrates the pain receptors behind my eyeballs, I enjoy much of this album. But then, I grew up with folk music. I love finger picking, I love story songs. Hard to believe she was basically a kid when this was recorded.

Anyone turned on to Lemonheads with Lick, Lovey, and the Favorite Spanish Dishes EP pointed to IASAR coming once Dando had the right lineup and songwriting partners. Hatfield’s backing vocals add some sweet, sometimes sad, texture to Dando’s singing. This is a perfectly crafted indie-pop album. It’s a road-trip sing-along record that can be played on repeat. Except for one thing… when I got the CD back in the day it didn’t have the Mrs. Robinson cover. I prefer that version. It wasn’t a necessary add and it’s inclusion diminished the album a bit.

Not a big fan of Oasis, but damn, there are some gems on here, particularly the title track. Wonderwall and Champagne are played out for me, but still good songs. Solid record, but short of brilliant in my opinion (clearly not the Gallagher's).

Unlistenable. Unless… you’re in an, um, enhanced state. And at a dance party. In 1994. Or a Skid on Letterkenny.

An OK hip-hop/soul record with some overlays of spoken word. Some important messages, but musically not a groundbreaking or particularly interesting album.

Great instrumentation on most of the songs, the pedal steel countrified psychedelics, and I can listen to McGuinn play a Rickenbacker 12 all day long. Plus the harmonies! On the other hand, the stereophonic effects are bit much, but I guess a bit novel for the time or thought to contribute to mind expansion, using what I imagine were the terms in the day. There are couple misses. Moog Raga should have been cut and not used up precious studio time and recording tape.

Can't say enough about this record, so just this: I love it, and everything it led to and influenced decades down the line. It would be hard to imagine Uncle Tupelo, Son Volt, Wilco, Alt Country in general… without this happening first.

I feel like I really should like this more than I do. The guitar interplay and melodies are cool, but I just can’t get into the vocals.

The Band is not my favorite band. But there definitely some good tunes. Vocals are really good this is a style of music I enjoy. I just don’t connect to it for some reason. I mean, it’s ok.

Did Japan ever send a Cease & Desist letter to Duran Duran? Also, I’m not a fan of either, but I get why this was an influential (read: directly copied) record.

I like Air, but this is no Moon Safari. Atmospheric go to sleep music. Maybe good as a movie soundtrack but not as a stand alone record.

I can’t believe I’ve never seen the movie. Listened to most of this before quite a bit. Funky with gritty lyrics.

Ugh. I did not want to listen to this. And I can’t say I’m glad it did. However… there were a few unexpectedly decent songs that I heard and even still did not take the time to record the names of. That is all.

Such a great record. Thumping bass drum backing up brilliant guitar.

Well, it’s still not for me. I can see why it’s for others maybe. The cartoonish imagery and adolescent rhymes maybe would have been cooler/funnier if I was younger.

The beginning of the end of U2.

Not for audiophiles or the squeamish.

An ok listen. Some tracks would be more fun at a club/party. Otherwise… pretty ok but nothing I can see that changed the direction of, or made much of an impact on, music.

Love it. This can be party background music, work music, sit and listen and pay attention to every click of the organ keys music,… Positioned clearly at a point in the early 60’s because of the instrumentation and groove, but doesn’t sound old fashioned.

Some really great playing, songwriting, and a far more mature voice than would be expected for his age. Strong album and a sad loss of a great talent.

Other than Sometimes, I couldn’t listen to any song all the way through. I just couldn’t.

I can see how there were bands that maybe branched off of the Syd Barrett tree (possibly Pavement as an example, don’t laugh at me). A few songs I quite liked, and yet some of this just sounds like some guy with a tape recorder and a guitar singing nonsense.

From Young Americans to The Worst version of Across the Universe ever. How can such a great talent be so extremely hot or cold?

A masterpiece. Nearly every song is brilliant and the recording is great.

Almost all of this record is unforgivable.

I love pretty much everything about Aimee Mann. Her songwriting, tone, voice,… also she’s quite funny. I know it’s not genius or groundbreaking, but I return to her records all the time.

Ok, I didn’t hate it. I like bossa nova. Some of the orchestra and strings is a bit much for me. I like it stripped down. Sinatra has such a smooth voice and his phrasing goes well with the style. But I’d rather listen to a “real” bossa nova record.

I didn’t appreciate Willie Nelson when I was younger, but have grown to like a lot of his music. This album included.

This album falls within the category of understanding why it’s important as an artifact but not loving it from a personal taste perspective. And I really like reggae, and enjoy bits of this, but not a favorite.

While there are couple of individual tracks that are great stand alone songs to listen to this record is best consumed as a whole, listening to its entirety in sequence. When it is, it’s a product of brilliance. As such it’s a 5. If thought of as a traditional collection of individual songs it would be a 3.5 or 4.

This is a great album. I was very into hardcore punk when this came out and it was just… different sounding but with all the intensity and emotion.

With enough time between listens this album is great. The gravelly voice, the poetic lyrics and delivery, the stand up bass… yeah.

There was a long time that New Order was a secret guilty pleasure band for me, and this record in particular because electronic/dance was most definitely not my scene. Love Vigilantes has always been a favorite, but damn, I like the dancy bits. Maybe me, but I hear a fair amount of “The Cure” sound in here too with the guitars.

While I enjoyed this much more than anticipated, not sure I’d reach for it again. Love the guitar, horns, energy, production though.

I could listen to this album over and over again. A couple songs I’d skip, but almost every one is fantastic. On the other hand, my wife absolutely hated it and made me turn it off in the car.

Couldn’t wait for it to be over. Which felt like a very long time. But keeping in mind it was 1978, and what came after, I’ll bump it a star.

The boringest.

Hard to listen to, but not to say I don't like it, I do. A lot of it is just really difficult material. Lyrically dramatic, musically brilliant. I almost never choose to listen to rap, but I have chosen Kendrick Lamar the most in the last several years… just not without headphones.

I’m definitely a fan of Sonic Youth. Teenage Riot kind of tricks you into thinking it’s going to be departure into more radio friendly indie rock, which it partly is. But there is still plenty of dissonant noise art punk to be had.

With the exceptions of the title track and the instrumental Moss Garden, the rest of the album doesn’t impress. Maybe it was exciting in 1977, but the music feels rather generic. In the other hand, Heroes is such a brilliant song, it bumps it up a star in my rating.

I did NOT expect to enjoy this album, but damn, I kind of did! It was off to a slow start and my initial reaction was… not positive. But the music was actually interesting and far more contemporary to my ear than expected for 1973.

Fun dance tunes, a bit repetitive and would be better on a dance floor or at a party. A 90’s party.

On Gimme Shelter Merry Clayton is by far the star. And Keith Richard’s guitars are the star for the rest of the show. Jaggers vocals are hokey and clownish on Country Honk, and I know it’s intentional, but it’s silly and unnecessary. The rest of the album makes up for that in a big way though. I’m not a Stones fan, but this record is undeniably pretty fantastic.

I was surprised to like this. Again, hip hop is a blind spot and listening closely has been somewhat of a cultural awareness experience for a middle aged guy with relatively narrow social exposure.

I know it’s kind of cool to say you hate the Eagles. It there are some really great tunes here. I live Take It Easy, even as a kid I loved that song. Witchy Woman is horrible. Just a garbage song. As is Most of Us are Sad. Ok, as are a lot of songs on this album. But I do like Peaceful Easy Feeling. Which is amazing because I’ve heard it a billion times plus my dad sings a cover of it and always fucks up the chorus (seriously), and it still hasn’t ruined it for me.

Hated this album when it came out. Gave it a genuine listen and I still don’t like it and I don’t get why it became such a big deal. I can see how stitched together it could work as a broadway show soundtrack. That’s as positive a comment as I can make.

Now this shit’s genius. And it was a welcome relief after the License to Ill which I absolutely hated. I remember my buddy saying I had to give Paul’s Boutique a chance back in the day, and was immediately into it. The samples are fantastic and unexpected, it’s fun and funny, and has a timeless groove to it. Probably my favorite Beastie Boys record.

Love garage rock, love that this was so rough edged for the time. But… I think it was only an incremental progression from what Little Richard and Jerry Lee Lewis we’re already doing, just making it a bit “dirtier”. That said, I liked it.

I appreciate Bob Dylan, but do not like his music. Except for Rolling Stone I’m just not into it. Bumped to a 3 because of his lyrics.

Just another late 80’s MTV rock album.

Enjoyable, but I’d rather not listen to a whole album at once. I like the music/instruments, but his voice starts to grate after a bit.

I had forgotten how great an album this is. Love’s vocals are so strong, the music is dirty and raw, but often has a pop structure. This is a record to listen to from top to bottom. And it sent me off to listen to Celebrity Skin again with renewed interest, but that’s for another time…

Starting off an album with a tune about wake up sex is kind of special. There are a few great songs on here along with a fair amount of garbage. She has a very good, but not brilliant, voice in my opinion. No Easy Way Down is so good. But now I don’t need to hear any of this again. Except maybe when Jan sings Son of a Preacher Man at the baby shower on the The Office.

Better than I anticipated, but kind of repetitive. Also, and this has been said for many of the records, probably better in a club setting.

While I do like Common People (and the Shatner version is the BEST!) the rest of the album doesn’t excite me.

I guess I’m kind of a Flaming Lips fan, but never really thought about it. I like almost all those music.

Such a great record. I can see how it may have been different and new and perhaps controversial at the time. To me, though, it’s just an enjoyable jazz record I could put on while reading a book, having dinner, turning up loud and really listening to.

There are a couple of OK pop tunes here, and an interesting and fun cover of Iron Man, but overall nothing too special.

Not her greatest in my opinion, but hey, she's Billie, so an extra half star for being her. There is never mistaking her voice and phrasing, and sometimes it's amazing, others, well, not so much.

I guess I kind of like Yes. Or at least their “hits”. Love the folky acoustic stuff, and of course Good People, Yours Is No Disgrace, and Starship Trooper.

Starts out with some decent tunes, but I lost interest along the way.

The worst of Smashing Pumpkins. Overreaching, overdramatic, overproduced. Gish and Siamese Dream maybe set expectations too high for me, but this double album was just twice the let down. Yes, there are a couple redeeming songs, but not enough to save the collection.

There’s a reason she’s called the Queen of Soul. I'm not a big fan of soul but damn, this is a great record.

This slowly faded into the background as my attention waned. I liked what I payed attention to, and I’ll probably listen again. I like and enjoy some Roxy Music and Brian Eno. But mostly for, well, ambiance.

I like The Fall, but don’t love them. This album tracks with expectations. I do especially like the guitar style and Smiths “talk singing”, and can definitely hear some influence on Sleaford Mods style. PSA: check out Sleaford Mods.

Incubus is a guilty pleasure. I prefer Morning View, but like this album quite a bit. To me it was a new, unique sound. Whether they were nu metal or whatever isn’t important, and sometimes categorization can be a silly exercise. At least at the time it was something different and interesting. Also… Battlestar Scralatchtica 😄

Rating after listening several weeks ago, but I enjoyed it. But I already knew that.

It became classic for a reason: these songs are pure rock ragers. Who cares FM radio played them to death?

I enjoyed the guitar in general and the instrumental tracks and a couple of the songs but less so.

The first track is derivative of every pop song in the late 60’s early 70’s that had orchestra backing [See: Beatles]. The sound of Someone You Love was quite lovely, but a lot of the record wasn’t very interesting. In fact the most interesting part of this was the name of the band. I… didn’t hate this. Not that I liked it much either.

Dull song after dull song sung at the same boring tempo. Constant Craving was the only song that stood out.

Adele has such a wonderful voice and phrasing that this record is a bit of a let down. 19 absolutely belongs on this list, 21 perhaps, but not this. Some good tracks and beautiful production, especially the piano accompaniments, but not her best.

The power of this record is undeniable even if it isn’t the style of music you enjoy. I’m not a fan of all of it but it was a juggernaut of hits with global reach and enduring impact.

This is a really good record and I’ve never heard them before. This will definitely get another spin. Good electronic based indie pop.

Folk Dylan is the best Dylan. And where does a kid get song writing skills like that at so young? Outstanding record.

One of my all time favorites. I never tire of this record. The vocals, the distinctly Boston guitar sound, keyboards, everything about this is classic rock.

I’d only ever heard the hits before (Time, Beginnings, Questions), and they’re truly great songs. But holy cow, the rest of this record is so damn good. I would have never chosen to listen to this but for this list, this is a great example of why this is a fun exercise: discovering music that’s been right in front of me all along. Vocals, brass, guitar,… all blend and shine through individually at times.

Weakest track is the title track. Golden Years is yet another Bowie classic, but TVC15 is equally good. The rest of the record is a bit lackluster.

This is something I dig. But I like tango so no surprises there and this is just really well arranged and played.

Punk edged noise rock with blues backbone. You gotta be in the mood for this, but if you are, it’s pretty killer.

Sometimes one simply is t in the mood to listen manically paced Afro Pop. This was one of those times. To be fair… it’s a good record and in the right frame of mind would be a good listen.

Great recording, fantastic arrangements, I could listen to this all day. And I kind of did.

I had never even heard of Shuggie Otis before… why?? I really liked this record, and will definitely listen again. aAnd with a double album as an introduction it felt like a deep dive. Soulful, funky, jazzy, and… country rock blues (Black Belt Sheriff)?!

I didn’t like TOTR when I heard them originally, but I appreciated this album much more than I thought I would. But that’s not to say I think anything here is (was) new or groundbreaking. It’s good.

Genius record with all the weirdness and musical brilliance that made Devo the greatest thing I had ever heard at the time. This is something nobody had ever heard before. Catchy, fun, odd, anti-normal, punk, new wave synth, and one of the greatest covers of all time (Satisfaction) - this record packs so much into 11 tracks. It’s even more surprising today to think that Bowie and Eno were part of this. Six stars if I could.

Except for If I Had a Heart and Concrete Walls, I liked this record more than I expected. Which is not to say I liked it very much. It was somewhat interesting vocally.

I like the Yeah Yeah Yeahs and Karen O is such a strong lead, and while this isn’t even my favorite album by them (Fever to Tell is) I think it has enough strength to rate highly.

I’m a fan of The Jam and Paul Weller in particular. But this is not my favorite. In fact, I like what came before and after more than this record. That said “A” Bomb is a great tune, and the David Watts cover is better than the original.

Said before, I’m not a big Led Zep fan, but… No denying how great Immigrant Song is with its charging rhythm and howls. And I really like the variety of folky, bluesy, and 70’s metal guitar. So that said, probably my favorite Led Zep record if I had to pick one.

Wanted to like this much more, but it came down to only a couple songs. Papa Was a Rolling Stone is of course great. And I actually like this version of The First Time Ever I Saw Your Face even more than Roberta Flacks version. In context of the times I can see why this was an important record, and a step for The Temptations, just not my thing.

Maybe as cocktail party background, or swanky, hip hotel elevator music, but it just felt interminable. I kept checking to see if I’d finished the album and it had started over. I like the music, but I couldn’t tell one track from the next.

I like some indie folk, but I’m not much for hymnal style harmonies. So there are elements of this record I like, mainly instrumental, but overall I would never put this on to listen to.

Excellent. Nirvana playing fantastic acoustic versions of their non-hits and indie covers was nothing I expected at the time. Vaselines “…Sunbeam” and Meat Puppets “Lake of Fire” are standouts.

I don’t even really fully understand why, but… I really like this album. I know I shouldn’t. It’s just so odd it’s appealing. And I enjoy the music. Birthday is one of my favorite songs. I don’t mean just on the album, I mean favorite songs. Bjork’s vocals bridge ethereal and gutteral and it works for me.

Another “enough is enough” record. Interesting though a few songs and a kind of novelty cover, but couldn’t hold my attention further.

I’ve tried and tried, but I just don’t like Prince. Not his voice, not the music, just not for me.

A friend turned me into this album last winter. I find it to be a nice bridge of country and pop, but not of the cookie cutter, saccharine, variety centered around ‘merica, pickups, and ex’s. It blends traditional instrumentation with contemporary beats and sound, song structure, and decent (although sometimes a bit twee) lyrics. It feels like it should be a guilty pleasure, but I don’t feel guilty.

I get it. I appreciate it for what it is. It’s not my cup of tea.

Now this is country music. I say I’m not a fan of country, but sometimes I am. This is an example of what I like. Stripped down, heartfelt, expert musicianship.

Ambitious, and one can assume groundbreaking at its release. But in the end, only worth listening front to back in order to string the story together as almost no song stands on its own except of course Pinball Wizard… And maybe take the pedo stuff down a notch, too, eh?

It might be all gibberish, but I really liked the rhymes and rhythms.

Pretty straightforward rock & roll. Good guitar solos and licks, with SCoM being the standout. Progress from the 80’s hair metal, adding some grittiness. Not a fan though.

This a solid rock record. Groundbreaking? Pushing rock in any new directions? Not really. But a lot of fun anyway.

Listening to Tarkus all I could think was “how do you listen to this NOT HIGH??” I enjoyed the rest of the album well enough but I just can’t abide the big proggy organ and plodding compositions. I’ll leave the ELP to Morley…

Never heard of her. Glad I have now as I enjoyed this quite a bit. I didn’t even know I liked R&B.

Solid record, and a fun live act, I saw them for this tour. The disco bass line and drum gets a bit repetitive (I know, it’s bass…), but the lyrics are good and there are no clunkers.

Boring and/or horrible songs. Showtunes without a show.

I’ve found I like Steely Dan more than I thought. Great production, top shelf musicianship, quirky songs.

Sure. I liked it. It’s some trumpet jazz.

A good SY record and I think Kim Gordon’s vocals are the highlight. The Chuck D collaboration feels a bit odd, but was cool at the time. And I’ll buy anything with a Ray Pettibon cover.

I’m going to put this out there: I like this album. As with others, it could be nostalgia and a connection with a specific time in my life, but for whatever reason I like it. It’s occasionally a bit cheesy, twee, and dated sounding, but some of the lyrics are quite good. And they do have much better records.

You can put me down for 5 stars on almost any Lou Reed. Maybe not his best (Velvet Underground is), but man, there are some great songs on here: Vicious, WotWS, Satellite of Love,…

All great tunes. Funky grooves synth is not typically my thing, but this hits me. Love Vein Melter.

That was terrible. Just awful. The only tolerable song was the Sonny Bono cover.

I was hoping for a lot more from this considering Clark’s songwriting with the Byrds (Eight Miles High is one of my favorite songs). The opening tracks I really liked, but then it felt repetitive. I hear future Uncle Tupelo / Jay Farrar in these songs.

Yet again, not a great listening record, should be experienced in the right setting (club/house party). That said, a few tracks were good to just listen to and work with in the background: ex. Always be There, Jazzalude.

One of my favorite albums of ALL TIME. Johnny Marr’s guitar shines brilliantly and Morrissey’s lyrics are haunting, sweet, hilarious, and vicious.

Muddy Waters was my introduction to Blues when I first heard Mannish Boy, and he defines blues to me. Imagine being in the audience to hear this performance being recorded. Nothing can match the growl, howl, and beat of Waters' vocals and guitar. Brand, Hoochie Coochie, Mojo Working,... all great tunes. The only song that doesn't connect for me is Tiger in your Tank, although because it's a take on a gasoline ad popular at the time, it gets a bonus mark.

I’ll go with 5, but would be a 4.25 if possible. This is a beautiful album lyrically, musically, and impeccably produced. It also puts U2 another step further away from the energy, urgency, and pathos of War which is probably their best album in my opinion.

At first I want to just turn this off. But then I got pulled in by the tight arrangements and clean musicianship and vocals. Once was enough, but enjoyed it better than I thought I would. Zappa Lite.

Amazing record from track 1 to the end - from pure party garage rock to acoustic folk blues. I can imagine that Evil Hearted Ada influencing the psychobilly Lux Interior of The Cramps with it’s circus mirror reflection of Elvis. As for comparisons, I’d listen to this before the Stones every time.

There’s a reason this record was massive when it came out: it’s just a great live rock record. Frampton has a great voice and certainly can craft a well put together song. And that talk box 😄!

Very enjoyable. I haven’t listened to this record since it came out, but still liked it. Jones has a very smooth voice with just interesting enough phrasing to avoid being bland. But it’s really just a chill adult-contempo / jazz album, not sure why it makes the list.

“Timeless!” is not how I would describe this record. It was new and interesting at the time, but damn, this did not age well. Maybe if there was live break dancing…

Rollins gets the glory (deserved) for his explosive delivery, but Ginn and Dukowski were the fuel. Nobody plays like Ginn, not before and not since. Frantic, raw, but with one goofy tune for comic relief, this record was huge for me. Ramones were my intro to punk, Black Flag was the immersion into hardcore.

Haunting, desperate, urgent,… But not something that hooked me (no pun intended).

I like most (but not all) of the Indian raga influence on this record. And it’s just packed with such a diverse set of songs it’s almost unbelievable how they could go in so many different directions at once, and do it so well.

Held up far better than Run DMC… I’ve never listened to this record in its entirety, but I really liked it. Was never much for rap in the past, but finding it more interesting than I thought I would. Sadly still relevant.

This guy had ENERGY! Fun, good time, raucous rock & roll… I had to listen to some amped down shoegaze to regain my balance.

Stewart has a great rock and blues voice, Beck is a brilliant guitarist. So this is a very strong record. Blues Deluxe sounds like they added canned applause. And why Old Man River? Why??

I haven’t listed to record in several decades. SEVERAL. I had pretty much written off most “classic rock” after hearing this stuff ad nauseum growing up as a kid. I wasn’t looking forward to listening to this. Objectively, I gotta say this record is fucking fantastic. Rodgers vocals set the template for a rock lead: from soulful to stone hard. The backing vocals blend, support, and enhance. Ralph’s guitar is huge and heavy with solos that shine but don’t seek the spotlight. If I were to nitpick… I would cut the saxophone. But that’s a tiny distraction in a nearly flawless record that should only be listened to at speaker shaking levels. A totally unexpected 5 for me.

The combination of artists and the genius of Guthrie makes this album a landmark. It’s a great listen, but it also comes across as if it was a lot of fun to make.

Great album, classic Cash. Not the best recording but it almost adds to the experience. Would be amazing to find an un-bleeped version. Does it exist?

It’s better than Bjork. Other than that… other than smooth production, and some tight bass I find it nothing special.

Quality record with tight musicianship and good lyrics.

The albums I like best on this list are the ones that are like nothing that have been heard before. This counts. Although the songs are a little bit repetitive within the record, this was a new direction.

Some brilliance, but some of the production and electronic instrumentation detracts from the experience for me. I know, I know,… It’s the Beatles.

Rapid Fire and Metal Gods are real highlights. Great rock & roll, wasn’t into JP at the time, more into punk, but this was very fun to listen to.

It’s a rap album. It’s absolutely possible that I don’t get it, but it doesn’t seem particularly special.

It’s not quite the Beatles, and it’s not quite… great. Some of the songs are partly great, but feel like they’re trying too hard.

On one hand I was pretty engaged for the whole record which I didn’t expect. On the other, Kanye is a douche (at least it’s the impression I get through his lyrics). The music/musicality is definitely strong and there’s no denying the words hit, but it’s just not my style.

Overblown rock and roll show tunes. But… if you’re into that kind of thing, this is as good as it gets. And what person of a certain age doesn’t remember Paradise by the Dashboard Light fondly? I never need to hear it again, but have to admit it was kind of fun.

Love the production, love the guitar, love the vocals. It’s just a great sounding record.

I’m sure this was important in Brazil in the late 60’s, but I don’t know Portuguese and didn’t like the music all that much.

Look, I love Lou Reed, but this felt like over self-indulgence or a lack of editing. Not a fan of most of the record. I’m sure they were very pleased with themselves for making it, but much of it is just… too much. Caroline Says II is good. Kid is really good until the actual kids come in. I don’t want to hear babies crying when I’m listening to music. Nope. I was sad that Sad Song didn’t end 3 minutes earlier.

Tiresome. Some of the Indian flavored instrumental is ok to listen to, but otherwise a nothing of a record.

As a big fan of Stink, Sorry Ma, and Hootenanny it took a couple listens to “get” a lot of this record. Later, I remember one time sitting in my car listening to the tape start to finish and when Answering Machine ended just sitting quietly for a bit. This record is just exceptional. Punk adjacents, hard rockers, pathos laden feelies, boozy party kickers,… it’s all here. They were playing with a tight ease and a sense of barely contained chaos. And Answering Machine has one of my favorite guitar riffs on repeat that I have never tired of. Even after almost 40 years.

This is for somebody other than me. There is other Marvin Gaye I’d rather listen to.

Not much to say because there’s not much going on here.

If you’re into crazy murder ballad waltzes, Jesus, southern culture, and/or heartbreak, then the Louvin Brothers are for you! And yet… I listened to it all and kind of liked it.

I enjoyed this quite a bit. Quirky fun, a little punky / new wavy. I digged it.

Rock and roll doesn’t get more straightforward than this. Vocals that set the standard for hard rock and guitar that hits, screams, and growls. The soundtrack for high school parties.

I forget just how much jamming is in here. I mean it’s heavy, but some of this is pretty bluesy with an occasional dip into… jazz? Or at least in the neighborhood of jazz. The part of the neighborhood where you lock the car doors and go through the stop signs, sure. But nobody sings like Ozzy. And paired with Iomi’s heavy guitar it’s a match made in, well, you know where.

Soulful and bluesy with gospel underpinnings. Classic.

Tom Waits is hit or miss with me. Almost all of these songs are a hit.

Ambient cocktail bar music.

I really have to be I the right frame of mind to listen to ANY Radiohead, let alone THIS record. Today, fortunately, I must have been in the right frame of mind and the album clicked. This is a rare occurrence so take the rating with that in mind.

I can never get enough of McGuin’s 12-string Rickenbacker. Not every song is great, but overall this is a strong record.

Edit every song down to 3 minutes and maybe it’s a better record.

Sometimes it’s early Cure, sometimes John Hughes movie soundtrack OMD, a little bit Eno,… all of it proudly, or at least unashamedly, Eighties sounding. I liked this much more than I was expecting going in. I actually may listen to it again.

My 3rd favorite Pogues record, and goes in some new directions with a more refined and diversified sound. MacGowan’s song writing is brilliant. RIP Kirsty MacColl.

It’s a 3 only as a contrast to greater JLH blues tracks. I don’t really like these “paired up” records. They feel too deliberate and artificial.

I didn’t realize I’m as much of a Curtis Mayfield fan as I am. That’s the best song about Jesus I ever heard.

Expected to hate this… and did not. That said it’s probably a one time listen, but appreciated it.

As a fan of James Brown I really enjoyed this. The band wasn’t quite as tight as later versions and the audience seemed bit high in the mix. But damn, he’s always been great. But also damn, it’s not the best of his in my opinion.

A mixed bag of disjointed psychedelic sounds. Like trying to be the TV version of whatever was groovy at the time.

For me it’s a matter of finding the gems with Cohen. A lot of it is just too… poetic? I appreciate much of it on that level, but I just tire of it. Couple of 4’s, couple of 2’s. Average it out. Highlight: Diamonds in the Mine

Of course El Paso is a classic tune, but I enjoyed the rest of this record. Robbin’s voice is as western smooth as it gets and the musicianship is perfect. Surprisingly good recording quality too.

Another uninspiring briefest of an electronic album.

Dull and uninspired.

Damned forever! Not there greatest record, but still super-listenable high energy punk.

I think I only listen to big band music at holiday time for the Christmas music. So maybe that made me particularly amenable to listening, but I really enjoyed this.

I still get the feeling I had the first time I listened to Kind of Blue: awe.

Honestly had never really listed to fIREHOSE before. I liked it, but not so much as to listen to more than the once. If I’m leaning in this direction I’d rather listen to Outbox by Soulhat. (I know, not exactly the same thing.)

Hard to put a finger on why I found this record appealing. Sometimes creepy and odd, others haunting and odd. But usually some odd involved. Highlight: Broken Heart

Beautifully recorded and some of Van Morrison’s strongest songs. But his vocals/phrasing and songwriting are what make this album special.

Started out interesting enough, but quickly grew tiresome. It’s that voice.

Love this record! Neil Peart’s virtuosity on drums is astounding, and I’m a fan of his lyrics as well. Lee’s vocals are some of my favorite on this record especially Limelight along with Lifeson’s guitar.

Some of the music is, dare I admit, decent. But Wainright’s voice kind of grates on me. And I like plenty of artists that don’t have “nice” voices. The songwriting is fine.

Frank Zappa was a genius and every musician top shelf. Best, the attack on hippie culture is ruthlessly hilarious.

Just give me the hits, please. Of course May’s guitar and the harmonies, but the songwriting is terrible.

Such a great record that continues to showcase the lyrics, vocals, guitar, and keyboard of a truly unique and ground breaking band.

Nobody matches the tight harmonies of CSN. And I love Stills guitar work on Wooden Ships. I just don’t dig Marrakesh Express but Helplessly Hoping gets me every time.

It feels a little weird to say that I kind of like a fair number of Slipknot songs.

Not the Bowie I personally prefer musically, but an interesting enough record. Even the instrumental tracks held my attention.

I never listened to this record before and I’m glad for this 1001 Albums effort to have introduced it to me. This was not the Beck I was expecting and showed a completely different view of his songwriting talent. Really a quite beautiful record that I’ll be sure to revisit.

I really like the more “traditional” jazz and bluesy numbers on this record, but while I can appreciate the other tracks, they’re aren’t something I’d listen to more than once.

I’ve really enjoyed this album since it came out. Of course Electric Feel and Kids, but there’s a fairly diverse sound here.

I actually bought this when it came out. And now I can’t imagine why. A few listenable synth pop tunes, but mostly uninteresting to downright dull.

Some definite gems in this collection. I had only heard You’re Gonna Miss Me before (which is fantastic). And the only time I’ve ever experienced the electric jug.

Post punk / punk that is deceptively complex despite being “3 chord” rock. Great classic record.

Cinnamon Girl is a forever favorite. Really good album, great songs, but I’ll admit the guitar solos can get to be a bit for me. This is a return-to record for life, though.

Not a weak song on that record. The combination of Winehouse’s “hang it out there” lyrics with the soul / R&B works so well. Amazing production, musicians, vocals, and lyrics.

Cars is such a great new wave pop song, but most of the rest seems like atmospheric sci-fi soundtrack. It gets tiresome.

Mostly filler, no killer. The 3 hits are the 3 “decent” rock songs here. Kiss was more of an “act” than a band.

What is this? A classicalfolkprog endurance-test novelty record? If I could, I’d give parts of this a 1, 2, 3, and 5. So I’ll average it.

I think Beck is fairly brilliant. He blends styles with quirky lyrics and fun, interesting, and contemporary feeling music.

I liked this more than expected. Lauren Hill shines for sure, not only does she have a really good singing voice but her raps are strong as are WJ and Pras. The mix of beats and samples are pretty great, but I deduct a star because a few of the songs are basically covers. The gags are a bit much, but ok. Overall, a record that deserves to be here.

The jazz and funk with some jammy riffs were unexpected to me originally (meaning in the mid-eighties). I remember when this came out figuring it would be more punk, considering the Black Flag/SST connection, and not being very into it until after several listens. It can be a bit of a slog to get through in a single listen, depends on one’s mood. So many good ones, but some favorites: Cohesion a folky, Spanish, guitar instrumental piece? Who would figure this would be wedged in here? But it works. Corona always sounds like it was maybe a template for Uncle Tupelo. History Lesson Part 2 was barely history when it was recorded. And more, but I’m tired of typing. RIP d. boone

Well, that was long. I‘ve sat through this before, with similar results: I lose focus and my mind wanders away from the music. The music is great, but it’s just too much for too long. Certainly the brilliance is there, but my attention is not. Is it a 5? Probably, due to the pivotal influence the recording has had on jazz and rock music. But because I hit a jazz fatigue point about a quarter of the way into each of the pieces, I have to drop it to a 4.

Only 4 songs? Walk On By was a tedious rendition of classic. Hyperbolicayllab… lacks energy and the production feels dull and a little muted. One Woman is a sweet song but doesn’t break new ground. By the Time I get to Phoenix wow, that’s quite a story in the windup. Of course Hayes has great R&B vocals, but… ho hum.

Ugh. Adding a symphony to your music rarely elevates it. It feels like a desperate search for validation as a musician. Or just self-indulgent. I like Metallica when they sound like Metallica. This, no thank you.

I was introduced to The Modern Lovers through covers: the Sex Pistols cover of Roadrunner and Burning Sensations version of Pablo Picasso on the Repo Man movie soundtrack. I love this record. Earnest (sometimes painfully so) garage punk songs that are tuneful and still partly sound like they were made up as they went along. The lyrics are sweet and sad and bare. Cale brought a Velvet Underground sensibility to the writing and production the preserved Richmond’s voice and emotion. A favorite.

Garbage. Ok, Pour Some Sugar on Me was a stripper hit. Overproduced garbage.

Another sort of ho hum record from Bowie. Nothing really new or unique sounding here, the songs don’t feel especially inspired.

Funky, rhythm driven pop with lots of sax and horn and Chic / Nile Rodgers style guitar. Sometimes has a little Latin flair. Plus I like marimba. This didn’t come across as New Wave to me: there’s no edginess, no heavy synth. Just bright, fun pop. I liked this way more than I thought I would.

Some of my favorite gloom rock! I do especially like Hanging Garden and Siamese Twins, but pretty much the whole record. Moody, sullen, morose…

I’ve heard this Radiohead song before. It’s most Radiohead songs. With only a couple exceptions.

Twangy tripe. Sure the musicianship is strong, but I just can’t take that… twangy vocal. And why not add a few yodel breaks just to get it deep under the skin. Dear lord this was hard to get through.

Records like this make me almost resent getting involved with this whole 1001 albums thing.

A generally fun D.A.N.C.E. record (🙄).

One of my favorite records of all time. This and Candy-O never get old for me. The Cars has not one bad song on it. New wave synth, great rock guitar riffs, Ocasek and Orr’s songwriting and vocals… everything is on point.

Hard rock, Doors and Beatles flavors, jazzy bits, and West Side Story all on one record. Most of this isn’t what Alice Cooper is remember for. A fun and engaging listen.

I think this album starts off with its worst track. But once Cracking is out of the way I really like this album. Yeah, it’s kind of art school/English major girl-with-a-guitar folksy, but that’s the appeal. Same reason I loved early The Story and Jonatha Brooke.

It just feels like John Lydon trying to shake off the Sex Pistols and stay relevant and edgy. And maybe it was for 1978, but to me it’s just not very interesting lyrically or musically.

Not as strong an album as 19, but still some really great songs here. She shines when she can really exercise her soulful vocal phrasing (He Won’t Go), and is only pulled down by a couple less inspired compositions. I actually like the cover of Lovesong with the acoustic guitar, organ, and strings. She’s at her best when the focus is on her and everything else is there to support (I Found a Boy).

I do not apologize for still loving Song 2, and it’s ubiquity doesn’t diminish my need to listen to it at maximum volume. There are so many good songs here: the stomp of On Your Own, the lo-fi strum You’re So Great, punk rock Chinese Bombs,… I don’t love all of Blur’s output, but this album is full of good tunes. Graham Coxon has some good solo records, too.

Although I lost interest toward the end, there was enough high energy to keep me in it for most of the album. Also: so many funk puns.

A blues rock & roll album as strong as this as a debut; it’s hard to imagine. Plant sounds like he’s been at it for years with howls to match Page’s guitar and Bonham’s thunder. I don’t even consider myself a Led Zep fan, but damn, one has to at least recognize how great this record is.

The speed and precision of play is remarkable, but the way the music soars and Jarrett’s vocalizations add the joy. He is IN IT. Great recording (listened on Apple Music lossless), too.

Good headphone music to get lost in: a detailed, layered soundscape. Listened at work, but would listen again with an experience enhancement agent of some kind. Enjoyable, but doesn’t break new ground.

One of my favorite Cure albums, and immediately transported me back to the time when it came out. Which was kind of a relief after Just Like Heaven started getting played at frat parties. Back to gloomy songs about being cold, dark, and alone. Probably in the rain.

How can Heart of Gold, Old Man, The Needle and the Damage Done exist on the same album as A Man Needs a Maid and There’s a World? I have to average it down to a 3, which feels kind of wrong.

No band sounds like Jethro Tull. It’s not just the flute, which definitely helps define their sound, but Anderson’s vocals and Barre’s guitar. I love this album. Great music and weird songs.

Not much going on here. Some of its listenable. Some of it wasn’t.

The mix is crisp and creates nice separation while bringing elements forward as punctuation or focal points. Strings, electronics, and acoustic guitar all work together. The harmonized backup vocals are inventive and unique. Lots of flavor of world music African guitar and beats. Vampire Weekend influence for obvious reasons (roots in Ali Farka Touré?). Vocals have similarities to Jeff Buckley, or is that just me?

A gifted singer / songwriter with knack for storytelling. What’s not to like?

It hard to believe someone so young could sing like this. An incredible talent with full commitment to every song. Whether a love ballad (I’ve Been Loving You Too Lkmg…) or an upbeat stomper like Shake. Excellent record.

Boring to the point I forgot it was on. 2 stars because it was not actively offensive.

High weirdness of the best kind. Not an easy listen, it requires a certain kind of mood and activity to have on. Fortunately I had both by coincidence yesterday.

PJ is very hit or miss for me. Almost every record has something I love on it, and a lot I just do not like. That said this record was far different than I expected. And I enjoyed a good deal of it (not all): Didn’t like The Words that Maketh Murder But very much liked Hanging on the Wire

Pretty great record, although it kind of peters out toward the end. Once In a Lifetime is still a brilliant song that I never tire of.

It’s no Master of Puppets, but it’s a good metal record and a classic. Fast, heavy, with growling vocals, but highly precise drum and guitar. It’s a record I always enjoy listening to.

This is the Roxy Music I was late to learn. My introduction was the Avalon album which is totally different than this. I liked this, although I’d only revisit a few of the songs and probably not the whole album. Especially Bitter-Sweet, which sounds like it should be on the Cabaret soundtrack.

Not my favorite by The Byrds, although Eight Miles High is one of my favorite songs (and the Hüsker Dü cover my favorite version). Mr. Spaceman is a bit of a goofy novelty song, which isn’t a knock against it, it just sets it far apart from the rest of the record. I would like Wild Mountain Thyme much more if they had pulled McGuinns guitar more to the front and dropped the levels on the strings. But it’s the harmonies that make the song. Otherwise… not worth going back to for me.

I remember going through the whole thing about being bummed when a cool band you like gets a mainstream hit. I still can’t abide Been Caught Stealing. But I do like Stop and Ain’t No Right is OK. But it ends there. Of Course is just tedious.

It feels like heresy, but I’m just not a big Dylan fan. Subterranean Homesick Blues is good of course. Love Minus Zero is good. No denying Mr. Tambourine Man is a great tune. It’s Alright, Ma and It’s All Over Now, Baby Blue are good, but by the time I get here I’m having trouble listening to his voice.

This is just a fun listen. And there’s nothing wrong with a perfectly executed rock and roll record. Even if it’s half cover songs, everything has such distinctive Beatles sound to it that it feels all original.

Not nearly as good as their first 2 records. I’d be interested to know why this is the one that was selected for 1001. There are some good tracks on here still, but lacks the speed and energy of earlier BB.

An easily forgettable compilation of generic “hip hop” style tracks. I wouldn’t remember this from the past except that Buffalo Stance was a bit of an MTV hit. Not Bjork bad, but bad.

This is a perfect example of why I suffer through Bjork and Neneh Cherry albums to be part of this exploration of the 1001 Albums... I would never have chosen to listen to this but for coming up in the random generator. I’m very glad it came up. Even though I didn’t understand a word, I enjoyed every track. The vocals, the rhythms and time signature, musicianship,… everything. I will be returning to this record. And I immediately listened to their subsequent records.

Listened while transferring a batch of beer from fermenter to keg. It did not distract me from anything I needed to pay attention to, so that’s a plus. I expected to want to turn this off, but it wasn’t that offensive, and if I’m being honest, I may have enjoyed a track or 2. Not that I looked up from what I was doing to check the song names. It’s not anything I’ll go back to intentionally.

These 3 great songs on this record make up for the other repetitive and boring tunes: North American Scum Someone Great All My Friends Us v Them feels kiiiiind of like a Talking Heads song Sound of Silver is just repetitive and pretty boring. I can only get through New York I Love You but…

Rap with some grooves or rock guitar behind it. Yawn.

I think Shirley Manson has quite a good voice, and the music is mostly good. But quite a few of the songs are missing… something. Hard to put a finger on it. It’s a good album with some fine songs, but didn’t leave much of an impression.

I’m not a fan of all the African chorus and backup, but I do love the guitar and rhythms. Simon has such a relaxed voice and strong songwriting and the recording is impeccable. I don’t, however, need to hear You Can Call Me Al ever again.

It’s always a bit sad listening to this record. But it’s pretty brilliant: raw, raucous and also introspective and revealing. And cello.

About half this record is great and what I love about Marley. The other half not bad, just not exceptional. The title track is probably my favorite along with No Woman No Cry of course.

Uninspired, boring. A chore to listen to.

Proggy proto-metal. Like if ELP and Led Zeppelin formed a supergroup in 1970.

Huge record partially responsible for turning the tide of music. I still really like almost every song even after being saturated with it. It radiates rock and roll energy and was desperately needed at the time. Lyrically, musically, and vocally just a terrific record.

Break in Through and Light My Fire are amazing songs but the album doesn’t do much for me from there. Alabama Song annoys me to no end. Maybe it’s a great album, just not my thing.

Maybe there’s something wrong with me, but I really dig samba. I could put just the guitar, bass, and percussion on an all day loop and be happy. And I love this record. Doesn’t mean it’s good, but I’ll rate it as if it is.

An easy 5 for me. Melodic noise that I immediately latched onto. I love the warbly warpy sound, the vocals, percussion,… I wore out the cassette back in the day.

Never heard this record before, but liked it. Enjoyed the acoustic guitar, string arrangements, and other instrumentation while still being a 60’s rock record.

While it’s sonically rich, I only care about the rock music on the record. I just don’t care about any parts of this that are “show tune-y” or novelty songs. You’re my Best Friend is just nice 70’s sunshine pop. Yes, Bohemian Rhapsody is a classic for a reason.

It’s not a bad record, but it is a bad Police record. I’m a huge fan of their first 3 records, and even like most of Ghost, but this album goes in a direction that ends up being a Sting sound, not the Police. That’s said, there are a couple of good songs.

I’m not a big Radiohead fan, but this record is… OK. This record has melody, and harmonies, and big rock sound and doesn’t feel pretentiously arty and experimental. Nor very special. Happy to have it on, but I’m not paying it a lot of attention to hike it’s playing.

Hip hop sound with an expiration date sometime in the mid 80’s.

What the hell is this record? Nilsson starts the record off sounding like Billy Joel, the next thing I know he’s belting out a big ballad, then literally on the next track… the Coconut song. Weird, eclectic, maybe well crafted, but inconsistent and does not hang together. An extra star because the Muppets covered “Coconut”.

Oh, I do love Pavement. The kind of sloppy sound and indecipherable lyrics are sneakily also tuneful and brilliant. I never tire of this record.

I wasn’t expecting to like this at all and liked it a lot! Some good funk with African rhythms. Didn’t understand anything but enjoyed the vibe.

Uninspired and dull, I lost track of the fact that it was even playing through my headphones.

There are a couple good tunes on here, but generally feels like hollow Steely Dan.

Another brilliant record from The Smiths. The Marr/Morrissey combination is a lightning in a bottle occurrence. Marr is a top guitarist and the music marries perfectly with Morrissey’s lyrics and vocals. A near perfect album to me, with the title track maybe being a bit too heavy handed. Would be even better if it had How Soon is Now on it.

I think Debbie Harry is amazing in general. Punk tinged New Wave, disco, hints of some late 50’s/early 60’s in here too. This album has a couple absolute gems (Telephone, Will Anything Happen, Heart of Glass), but some run-of-the-mill filler as well (Fade Away and Radiate, 11:59,…). Still, I like this record.

It helps to think of this as a snapshot in time of what street life was like from the perspective of a young person living it. Yes, we should cringe at the violent, misogynistic lyrics. Musically (not lyrically) for some of this I was wondering which came first, the Beastie Boys or NWA. But maybe it was a lot of what was happening at the time.

Hotel California is a great song, and has played far too much. I actually like New Kid and Life if the Fast Lane. But Wasted Time and the Reprise completely bore me. Victims is another showcase for Walshes grooves and slides. The album fizzles from there. I’d give it a 3.5 if I could, but rounding down for half the record being more boring than the good half is good.

From atmospheric to heavy, from Latin to fuzzy rock, with virtuosity in technique and musicality. Yes the guitar, but how about that percussion?! And organ on Se a Cabo?! Outstanding record start to finish.

WTF was that? Some weird blend of orchestral pop backed gross male behavior novelty songs… Jacques Brel covers? Stop. No thank you.

No standouts. The dance songs lack energy, the slow songs are bit dull. There are much better Madonna records.

I know Arcade Fire are part of the Indie “beloved” but they just don’t ignite my interest. Keep the Car Running and No Cars Go are good. I guess I like their car themed songs.

Slick production and a big sound. Not one I like, but I can see how some would. Didn’t find it special.

Miles is always great and the band is impeccable.

Definitely like the post-punk sound, but not a big fan of Hersh’s vocals.

Smiling Stranger has a groovy creep to it I liked, the strings and sax had a definite 70’s vibe and it worked. I especially liked Dancing, but Martyn creates some interesting atmosphere in most of the tracks. As well, I liked quite a lot of the record although some of it is forgettable. But I’m surprised I was completely ignorant of this artist. Enjoyable.

While I still like most of this record, there is some strong rock and roll here, there are a few songs (Ted, Just Admit It…) that are maybe trying a bit hard, and that’s ok, but I don’t enjoy them. I think enough songs (Ocean Size, Had A Dad,…) buoy the record and make it worth noting. At the time, it felt new and different and very cool.

Mitchell is a top shelf songwriter and her phrasing works perfectly with this band and the direction she’s taken her music. One of my favorite Joni Mitchell records (with Blue and Ladies of the Canyon).

An interesting record but not my favorite Echo album (their eponymous 1987 album is). Still a good listen. Killing Moon is a great tune as well as Seven Seas.

Again I think Page is the star of the show. Bonham is a great drummer, but I find his solos get a tad tedious. Yes, Plant has a great voice but there are only so many baby baby baby’s I can listen to. Great rock blues record though.

Not so much my thing from a lyrical standpoint, but I really do like Snoop and the music on this.

Gloria is a classic and the energy palpable. But I just don’t like her voice. The music is really good and the lyrics are fine. I can even take some of the spoken word, but nope, I just don’t like her vocals. I get why this is on the list though.

I kind of enjoyed this, but I was also kind of passively listening while doing other work. I liked the jazz backup, and the lyrics that I tuned into. Not sure I’d turn to it again, but it was ok. I struggled to understand the influence in hip-hop or anything else though.

Another record I’d be interested in reading why it was chosen. It was fine, but run of the mill. I thing bad, but zero stood out.

The Go-Betweens are a band I like and I bet they were great live, but I think their songs would be better with less polish on the records. Keep the jangly guitar, though. Love Goes On is a good tune, and Nada Surf does a pretty good cover that I actually prefer because it’s more stripped down. Streets of Your Town is also a really good tune and also covered by DOPE LEMON, but I’ll take the original in this case.

Pretty damn near perfect. I like the double (more?) tracking and left/right separation. It’s like someone whispering directly in your ears. And this is what you want to hear.

Talk about a packed record full of iconic songs. It all of it is my thing, but there’s no denying how great this is. It would be a 4.5 if I could.

This a strong record with gritty songs and frenetic guitar. This is a band you wish you saw in a bar basement.

Ugh. The very first track has children singing. That’s almost never a good idea (exception: The Wall). The album does not improve. While the production is very good, it’s mostly just not interesting.

Bizarre military sounding anthems of… I don’t know what. Strangely enjoyable. But not sure I’d revisit it. I also would want to know the translation before playing where others could hear.

I’m a fan. Really love Mais Si Tu Dois Partir, but there are a lot of great songs here. Sandy Denny has an incredible voice and the band (especially Richard Thompson!) are top shelf. I like folk so I’m starting from that position, but this is an excellent folk record.

Really a good record. A different sound than I was expecting. Well written, and performed. Judicious use of instrumentation and background vocals. I’d listen again for sure. But requires a certain mood, a bit subdued/ melancholy.

Hmm seemed like kind of standard R&B. Which not to say bad, just nothing “special”. I did mostly enjoy this. A.D. 2000 was kind of physically nauseating though with the right-left channel business.

Don’t Come Drinkin’ is such a great tune. Lynn’s sassy, strong songs (above, and Shoe Goes in the Other Foot) are great and I love the playing on this record. The slower songs aren’t my thing, although the pedal steel is nice.

I think this is a brilliant record. The lyrics are naked and feel embarrassingly (to me) personal, Apples vocals and phrasing are (and have always been) entrancing, and I love how this vacillates between sound like was recorded in a bedroom and a studio. BUT it’s a challenge to listen to. I listened when it first came out and didn’t again until tasked to. And maybe won’t again.

Not sure which I prefer between this and Paranoid, but this kicked off the heavy. For me a four, but extra point for changing the course of heavy rock.

Nah. Can’t do it. The lyrics were worse than I remember. I do like the music though.

Weird cool jazz/funk influenced tunes with lush harmonies. Interesting, but probably a one time listen for me.

The title of the second track sums up my opinion of this record: No.

A really good record, maybe Morrissey’s best outside the Smiths. Unmistakable vocals and lyrics, and a good band backing him.

I 100% expected to hate this record, but it was pretty f-cking good. Even though the Cookie Monster vocals can get a bit tiring, overall it works as a style. Interesting integration of different percussion in the “interlude” pieces. I’d definitely listen again, although it’s long.

Laid back, toned down delivery with lazy tempo. Liked this, although at some point about halfway through the record the songs started to sound alike.

Hard hitting unrelenting rough edged punk metal.

Pretty much every track on here is good. Unexpectedly I found the Anthrax collaboration to be ok, but not as good as I remembered.

It wasn’t hard to believe that Murphy had another really strong record in him. And best of all it still sounds like 100% LCD Soundsystem, thank the gods. First record and Silver are still best.

Beautiful Day is a superbly crafted pop song. Catchy indie sounding with the U2 treatment. The rest of the record is fine: some good songs, some duds. Clearly U2 are seasoned pros who can deliver against a successful formula, and this album does just that. But only just that.

So that’s where the “party like it’s your birthday” thing came from! Otherwise, it’s… a rap album.

I could do with less chirping from the Crickets. A little too much barber shop harmonization / doo wop sounding for my taste. But that’s a nit pick. Otherwise, it’s clear why Holly is a rock and roll legend with the number of gems here.

Listening objectively… it’s a decent album to listen to, musically speaking. It does feel like they are trying really really hard to be shocking and controversial, so much so that it comes off a bit silly. I guess if the listener is 15 yo it presents differently. The production is good, most of the music is decent, but I don’t need to hear it again. Others did it first and better anyway.

Remake remodel is a rocking tune. Bryan Ferry’s quavering Tiny Tim-like vocals get on my nerves after a couple tracks.

I like the composition and instrumentation of this record. And Nico’s vocals were an acquired taste for me, but once acquired I truly enjoy. The record does drag after a while so it’s not a great listen start to finish, but I do love the first 2 tracks especially. Does anyone else hear the similarity in These Days and the song If You’re Feeling Sinister by Belle & Sebastian?

The title track is one of my favorite songs. Such and easy, loose, relaxed tone for kind of a heavy song. Then the second song sounds like it was a demo for What’s Going On… so, ok it’s good but he already captured that on track 1. Mercy, Mercy Me is a near perfect song and another of my all time favorites all the way to the sax solo at the end followed by the unsettling choral bit. The rest of the record is quite good as well.

This version of Mannish Boy is one of the greatest recordings of any song ever. When I listen to blues, which is admittedly not all that often, but when I do this is pretty much what I want to hear.

This is a sad, sad record. If you are in the mood to be sad listen to this record. If you aren’t already sad, you will become sad. It is beautifully sad, but sadly, it’s too much sad for me to want to listen to again.

Last time I listened to Sigur Rós I didn’t like it. But I rather enjoyed most of this record. Maybe it has to be mood matched. Lyrics clearly aren’t a factor, so relying only on the music and vocals I liked it and would listen again. Atmospheric.

It took me a while to come around to liking Frank Black (same with the Pixies). This record definitely helped. Lots of really good tunes on this.

One of my favorite records of all time. So many great tunes: starting with Cut Your Hair of course, but how about Gold Soundz and Range Life, and Stop Breathin’, and just about every song?? There’s a lax, loose composition combined with bouts of mad energy and nonsense (or what I haven’t been able to decipher). Brilliant record I have listened to lots and lots and never tire of.

Over Under Sideways Down, May have been the only song I really knew on this record, but I really liked the whole record. Psychedelic but not TOO psychedelic. Plus some straight up blues, 50’s style rock guitar,… really a lot to hear here!

This record actually did nothing for me. No song really made an impression. Train in the Distance and Rene and Georgette… were the closest to being memorable, but we’ll see if I even think of them by the time I post this. Cars are Cars was a bit of fun.

I thought this was going to be torture because the airwaves were saturated with the hits from this record. But I actually enjoyed it. Let’s not get crazy though, it’s good not great.

It’s crazy how prolific Elvis Costello was and how high the quality of his records were in the early years. Yet another excellent record mixing pop hooks, his brilliant lyrics, inimitable vocals, and punk influence on the edges.

I don’t know why, everything I like musically would indicate that I shouldn’t enjoy this record, but I really like Nile Rodgers and the disco funk of Chic. I refuse to feel shame about this.

This was one of the first records that turned me onto the hardcore scene and quite literally changed my life forever. 100% manic high speed, this record careens barely under control from political to disturbing to silly. Holiday in Cambodia and California Uber Alles are classics, but this record screams relentlessly from start to finish with no duds.

Mould is one of my favorite singer/songwriter/guitarists of all time. I can’t even recall how many times I’ve seen him from Hüsker Dü to solo to Sugar to solo again… This record has everything I love about his work. Full of hooks and also hard edged, moody or dark. Signature electric guitar growl but sometimes with jangly 12 string behind it, multi tracked harmonized vocals and such a full soundstage. This a super easy 5⭐️.

I love stripped down folk country. This sounded like it was recorded at open mic night with the song intros and the live, “first take” quality of the music. Sounds like this was a pretty heavy influence on Arlo Guthrie (East Texas Talking Blues v. Alice’s Restaurant). And I had no idea Jackson Browne didn’t write Cocaine! Neither did Elliott, but at least he credits Rev. Gary Davis introducing the song. I will absolutely listen to this again.

Another fantastic record from Steely Dan. Sonically it’s just so pristine. But the music is so great, and just top shelf musicians.

Sunshine Superman is a good tune but has a weird fade-out, like someone just turned the knob down before the song was over. That said, a song should have an ending. Ferris Wheel, Bert’s Blues, Season,… The Trip sure had a lot of musical similarities to The Beat Goes On by Sonny and Cher, no? I’m really surprised how much I liked this record (with only a couple exceptions).

Seconds and Don’t You Want Me were the highlights for me and are very different songs appealing in different ways. Much of the rest was kind of generic 80’s synth pop.

Music for: elevators, cocktail bars, trying to fall asleep, edibles.

Well, it took a few tracks to get into this record for me. I really don’t like the title track, which meant of course I’d don’t like Pt. 2. Once we got rolling, it’s pretty damn fine with a very Live sound and genuine performance.

Brilliant record showcasing Jeff Tweedy’s excellent songwriting.

I liked the dub sound of Stuka. That is all.

Also ran rap with low production and not in a good intentional lo-fi way, just in a “did it in our basement” way.

Maybe worth a single listen through. Some interesting sounds and songs, but nothing I need to explore further.

I rather liked some of this record. It certainly seems a lot less experimental (read: unpleasantly odd) than some of her other records.

Right up my 70's punk alley. My rating is on a scale of 0 to Ramones for this style, so take that into account when I give this a 4.

I am not a Prince fan and I do not apology for it. He can rip on guitar, and has obviously written a few really good hits. Just nothing as special as some critics and the public seems to bestowed on him.

B&S first 3 albums are all 5⭐️. Great indie pop with interesting songwriting that was just a taste of the brilliance to come with If You’re Feeling Sinister.

Blues based rock and roll with stripped down production.

Whenever I say I don’t like country I have to add a lot of exceptions. George Jones is another one. I like his voice, the musicians are always top shelf, and shucks, I guess there’s just something’ appealin’ about a sappy song ‘bout a broken heart.

Highly produced pop that treads no new ground. Pleasant to listen to but completely forgettable.

Parts of this are a challenge for me, but in the “I think I need to hear that again” way, not that I didn’t like it. But much of this is just amazing.

Mostly groovy fun with great bass and keys. I just wish this didn’t end on such a cheesy note with that terrible Under the Boardwalk cover.

Outstanding pop/punk record full of harmonies and hooks driven at a frenetic pace. Never gets old.

I was ready to turn this off about half way through. That’s about when I got bored. A couple good tracks but not enough to keep me interested.

At least I get why this record is on here. But I’ve never been much of a fan of this record. It’s OK and it points in a great direction that the Ramones quickly ran (faster and better).

Panic in Detroit is my favorite from this record, but the album is pretty strong throughout. Among the best of Bowie’s and the Ziggy Stardust era was his peak.

Not the best SY, but a solid record with some good tunes and a few that should maybe have been edited off the final release.

I first listened to this record after reading Lester Bangs book Psychotic Reactions and Carburetor Dung. And it’s listed on all the “influential” lists. I get that, and maybe one can hear where this pointed, but it’s an otherwise pretty straightforward live rock record. Maybe you had to be there. And on something.

The promise is here that is delivered on Loveless… but not quite there yet. Still, some gems.

For some reason I can no longer fathom, I owned this album. The most plausible explanation is that there was a girl involved. I forgive myself for having once had the CD aim my possession.

I’m not a Dead Head by any definition, but man, I really like a lot of songs on this record. Box of Rain, Friend if the Devil, Sugar Magnolia, Truckin’,…

Kinda boring. What’s special or influential or worthy of being on this list about this record?

There is one really good southern rock albums worth of songs here.

I can enjoy short bursts of this, but not a whole album in a row. Kind of good for driving though, or party music.

Except for being way too long, I got a strange enjoy from this record. Never heard it before, never heard of Holger Czukay before, but I’ve already listed through the record twice. My very first reaction was “what IS this weirdness?” That continues to be my reaction. But I guess I kind of like that weirdness.

This is an easy 5 for me. Often a double album is stuffed with filler. Not here. There are so many great tunes with incredible songwriting. It seems a miracle that it was achieved.

I enjoyed this more than I assumed I would, but not enough to understand it’s appearance on the list of 1001 Albums.

You gotta love Ray Charles, but those back up singers and strings - holy cow are they annoying. If the track they are on could be removed it would improve this collection 1000%. Deducting stars for that reason… Did anyone else feel uncomfortable with the lyrics of Just a Little Lovin’?

Hoo boy. That was not my cup of tea. The trilling baritone and the dirge-like pace of the music just grated on me. I couldn’t wait for this to be over.

Album of covers with one (maybe 2?) exceptions. It’s… good. In the context of the time maybe it was a lot more groundbreaking for a bunch of pasty English fellows to be singing and playing these songs and the talent is evident, but for me, now, it’s OK.

As advertised on the record sleeve, this is essentially Jazz with Afro-Cuban percussion. Fun to listen to, and probably would be great to see performed live. I can see putting this on again.

Echo and the Bunnymen have such a unique sound and The Cutter and Back of Love are just really great tunes. While not my favorite record by them, it’s pretty strong in terms of music, lyrics, performance.

Pretty good socially focused rap record. Samples add interesting background/texture. Do anything different that other similar rappers at the time weren’t doing. I dunno.

Every time I hear this record it takes me back to 7th grade when I first became aware of it in earnest. We’re all tired to death of Stairway to Heaven, and honestly most of this record… but after not hearing it for a few years it’s enduring qualities are clear. There are many great elements on this record, everything that made Led Zeppelin legendary, but what really stands out to me for some reason is the opening drum on When the Levee Breaks. Damn, it’s cool.

This is a band that needed to be free as a bird from the studio (😑). The studio production does not help them. Despite the constrained feel it puts on the songs, it’s a great record anyway. One More From The Road has several of these songs and it’s one of the greatest live albums ever recorded, especially Free Bird, so I’d rather go there for my Skynyrd fix. This is still a 5 for me. Southern Rock at its finest.

I didn’t like a lot of this, but I definitely liked some of it. I was hearing some Ministry here (Longue Route, Crier les chiens) and it piqued my interest through several songs. Interesting stuff.

Wow some of the vocals recording was really harsh and hard to listen to. Which is a shame because she has a really good voice. I enjoyed this more than expected, and happy to have listened, but probably not on the list to put on again. A cover of House of the Rising Sun that I actually liked! She has a beautiful voice and the jazz guitar worked well.

The first song just made me think of The Doors with some kind of new wave twist. But from there it diverts into kind of a punk flavored garage sound. A lot of these songs are quite long, sometimes to a bothersome extent. Plus, I just wasn’t that into it. I’m not so much of a fan.

Psychedelic start to the record, could easily be from 1967. The later songs were much more shoegaze-y and appealing to me. Good record, and I can see where the influence went in a good way. I’m a big fan of MBV Loveless, and lean more to that sound than this, but really did enjoy some of the tracks here.

Aside from a couple songs I could do without (I’m Set Free, Murder Mystery) it’s a really good UV record. Just not as brilliant as the first 2 records.

I can see why this record is on the list, and I enjoyed listening, but not entirely my thing. So from a “my opinion” perspective it’s a 3, but from a “I can understand the importance” perspective…

I liked Soul Mining but found this to be kind of just more of the same but not as good. And now it’s quite dated sounding.

Somebody to Love and White Rabbit are standout classics. Embryonic Journey is a some nice bit of guitar play. And the rest of the record is just great classic folk/psychedelic rock.

I love that they returned briefly to their hardcore roots for Tough Guy. Other than that it’s what BB deliver: great beats, good rhymes, interesting and unexpected samples.

Just… boring. Really boring. I’ve heard worse, but rarely heard something as dull.

One of those records I wonder if I just heard the same song 14 times in a row. OK, maybe not that bad, I did enjoy it as background but once was enough.

If I never hear Yellow again it will be too often and too soon. The rest of the record is… pleasant, I guess.

Hadn’t really listened before, although knew the name. Some pretty good stuff on here, but I don’t think I’ll necessarily seek it out again.

Biko, I Don’t Remember, and Games Without Frontiers took me back to 1980 like a time warp. Glad for the trip, I really like those songs. A lot! There are a few forgettable tracks, we didn’t need the 80’s sax piece Start, but overall I think this is a strong record deserving of a place on the 1001.

Wu Tang! Wu Tang! I’m not a big rap/hip hop fan, but for some reason I really like this record. Maybe it’s the king fu movie stuff. Sure, I’ll go with that.

Take On Me will forever be a top of the lungs sing along. The rest of the record is standard 80’s Euro pop.

I appreciate Leonard Cohen, I just don’t like most his music.

Easy one for me, I love Cocteau Twins and this record in particular. Dream pop that influenced many other (dream pop/shoegaze) bands I love down the road, so there’s that to appreciate too.

This is perhaps exorbitantly long. But hot damn this is great stuff. Excellent blue grass and the captured moments of dialog make you feel like you’re in the studio. Love it.

Can’t stand Kanye and that Yeezys record was not good. This album has some likable tracks though. It’s hard to deny he has a talent for what he does.

There were a few tracks I actually enjoyed particularly for the music and percussion. This isn’t something I need to revisit, though.

I knew the band name, but never listened to them before. And that’s a damn shame because this is a really good album! Driving guitars, shouty vocals, sometimes pounding sometimes melodic bass. I’ll reach for this again.

I left this on and didn’t hate it. Which overcame 2 expectations. I would go so far as to say… I even enjoyed a few songs.

Aside from Highway Star and Smoke on the Water this wasn’t too much for me. Especially Strange Kind of Woman, I did not need to hear a screech followed by a guitar mimicking that same screech. Also… that drum solo.

Hey beeby, beeby, beeby… Ghost Rider set up an expectation that the rest of the record doesn’t always deliver on. But it does stick to the good bits: stripped down, minimalist, lo-fi keyboard with sparse reverb-ed out vocals. I love a couple of the songs on this album… but not as much Frankie or Girl which I find too dramatic and pretty annoying. The music is great though. Music would be a 5 but the irritating songs pull it down to a 3.

It’s boring songs that kind of sound like they want to be Radiohead? Ended up ignoring as it played in the background. The hidden track at the end was the best song on the record, maybe they should have hidden the rest and made it a single.

I think this is a good record and a band with a new and unique sound. I’m not a huge fan although I do like a few songs. Feels 4ish regardless of whether I like it all that much.

Middling R&B. At best.

This a really strong record, one I hadn’t really given enough time to when it came out. Which is odd because I’m sure I would have liked it. Raucous and noisy indie rock that satisfies an underlying pop structure. And really no weak links on the record. Worth going into the rotation.

Half the songs on this record are fantastic and make it a classic for sure. And there really isn’t another band that sounds like The Doors, so yeah this is “list worthy”.

I really don’t like Roxy Music much. I think it’s Bryan Ferry’s vocals. And the The Bogus Man was just far too long. And I love the name Tara, but I don’t need to hear it repeated fifty billion times.

I liked music, instrumentation, vocals and mostly the lyrics which are clever and witty. Not sure I’d listen again though.

Late 70’s pseudo-punk/power pop with the quavering vocals of Feargal Sharkey. Solid music, but… that voice kind of gets to me.

Amy Winehouse was such a talent. Her blend of soul, jazz, pop,… with her unflinching lyrics set her apart in the best way.

I like the percussion and music quite a bit, not so much the vocals. And Allah Hoo was way too much for me. Is it a “good” record? I guess so? Do I need to hear it again? Nah.

Yet again… not a CCR fan. Or so I thought. I haven’t heard this record end to end before. And have intentionally avoided these songs because I heard them too damn much on FM a rock stations back in the day. But I really enjoyed it to my surprise.

QotSA is a band I never think of listening to but always enjoy. They have a distinct sound but for some reason I always think of Blue Oyster Cult. I don’t know why.

I should just copy and paste my prog rock album reviews because they’re always the same. Musically complex and played with a high degree of skill, usually long and self indulgent but occasionally interesting enough to remember to pay attention. This all may come across as negative but that’s an overly pessimistic interpretation of the review.

While dated sounding, I enjoyed the electronic/post punk/dance sound of this record. And I always like Peter Murphy’s vocals.

This album created a tectonic shift of the zeitgeist. I had been listening for a decade to the bands and music that influenced and gave rise to Nirvana but when this record came out it blew my mind. Rage, angst, depression, heartbreak, even mocking of the poseurs at their shows - it’s a brilliant record from start to finish.

There are a a few decent songs on this record (Something to Believe In, So Alone, Not the One) that are solid and a couple that are not good (the “hits”). The good ones remind me a bit of 7Seconds first 2 albums, except polished for commercial consumption.

An interesting but not THAT interesting indie rock record.

Excellent Neil Young record that includes some iconic songs with a just slightly undercooked sound to make it feel like it was a recorded as live takes in a small studio.

Not my favorite Smiths but there are no bad Smiths records. At least half the songs here are classic Morrissey and Marr collaborations but one can feel the tearing of the seams and the unraveling of the knit that made The Smiths beautiful.

I’m sure this was pretty cool at the time but pretty run of the mill at this listen.

I found this record quite soothing and enjoyable. This was not expected but I can see listening to this again.

There is brilliance in this crazy-ass album and enjoyed listening, but this will be a one time thing. Certainly can see how Zappa would be part of this.

Polished and thrash don’t feel like descriptors that should apply to the same record. This record moves at breakneck speed but with tight precision and is so clean that I wouldn’t consider it thrash at all. Hammet is an amazing guitarist. Semantics aside, this is an excellent record that set the course for broad market acceptance of speed metal. So also the beginning of the end of Metallica (after AJfA).

This is the type of record that makes this whole 1001 exercise worth doing. Never heard of Jane Weaver before, but I really liked this record. A mix of throwback folkie with contemporary synth pop. Was this recorded in 1968, 1984, 2017?

I really enjoyed this record even without understanding a word. Lush composition, lovely melodies, and Brazilian rhythms - a very nice listen.

This is a good New Order record, but not their best or most important. So it gets a good star rating, but why is it in this list? Also, compare the opening bass line of All the Way to The Cure’s Just Like Heaven which came out 2 years earlier…

Jazz with prog rock segments. Out-Bloody-Rageous and Slightly All the Time were the tracks I enjoyed most. Cool stuff.

In-A-Gadda-Da-Vida baby! That’s one long song! And apparently there are a few other songs on this record. And they’re pretty good songs. But c’mon… there’s only one reason anyone remembers I. Ron Butterfly.

Maybe great for a club but not for just listening. Also with drugs. See also: Soundtrack to every scene of the Skids on Letterkenny.

Pet Sounds is truly a milestone of pop music. God Only Knows is beautiful and brilliant. I can imagine it boggled Beach Boys fans because it was such a leap from their earlier music. At times it’s a bit of sensory overload for me and feels like the wall of sound is just too dense and there’s nowhere to focus. But overall, I get why this record is so important.

But for the song American Pie, which is an iconic track, this record would be forgotten. That track alone boosts the rating by one star.

British folk record with excellent musicianship and vocals. I like this style but even I can only have so much of a dose. This was just the right amount.

Mostly very good tracks on this record with the exceptions of Sympathy for the Devil and Street Fighting Man which are great. I have to remember to think of this record next time I hear Start Me Up.

I love the guitar, horns, and rhythms. But it’s an album I enjoyed but don’t see putting on again.

I like some of the music, and I kind of like the vocals. He at least has an interesting voice. Overall it’s an OK record.

I really like Cuban rhythms and this was no exception. However, the vocals have a short play time before I hit my limit.

I’m a fan of The National and this record and Boxer are 2 of my favorites. They have truly unique style, especially Berninger’s vocals, but also the percussion and composition.

Fun, proto punk glam! My buddies played this for me my freshman year of high school and it definitely helped influence a path toward punk rock and hardcore. Some good party tracks on here!

Who doesn’t like some Motown? At least some Motown? Well, I do. Although it’s starting to feel more like soundtrack material than music I’d put on to listen to. A good listen.

I was really excited to see Fishbone on the list, by why not their first EP?? I guess it’s not 1001 recordings of any type to listen to… This record retains much of the energy (ENERGY!!) of the EP and some of the ska roots, but is a shift toward a different sound and away from what I loved about Fishbone when I first heard them.

Other than Mama Said (which I like for some reason even I don’t understand)… it’s a pretty standard rap record.

I like SZA unashamedly. But this is a stay in the lane record with nothing standing out or making a statement. Good to listen to but nothing out of the ordinary.

I’m of two minds for this record. On one hand the music is terrific and the vocals work, quiet spoken word or sung just below the crunch of guitars or yelled in an outburst. On the other hand most of the tracks lacked much variety from each other. If this is what you’re in the mood for then you get a whole album of it. If not, well there’s not much of a differs from one song to the next.

I really like this record. The sound is roughed in and to polish it would have ruined it because it supports the Moore/Gordon vocals perfectly.

Trying too hard to be taken seriously. The music is good but the affected vocals just don’t work for me.

Well, I expected to hate this but surprised that I didn’t. I liked the groove and the tempo of the rap.

I never liked FGtH and this didn’t change my mind. Grandiose, repetitive, and a bit fixated, no? Also, the worst covers of Born to Run and San Jose I’ve heard.

I kind of like this record, but it could be… more.

Never gave Moby much ear time before. Of course there was incidental radio listening, but never paid much attention. I quite liked this record with few exceptions. Danceable but also good to just have on driving or washing dishes.

I’ll take Paranoid over this, but still a really good record. Except for Changes. Where did that come from?

The music is fine, but the vocals really start to grate.

Taking the timing and context out of an evaluation, half of this is a pretty average album. Dollar Days, Girl Loves Me, and I Can’t Give Everything Away are the better half. But adding in context would bump it to 3.5 for me.

Not a big Stones fan, but this record is so damn great, I’m a fan of this record. Variety of music styles and they all work even with Jaggers vocals.

This is music for one thing and one thing only. And best as just background, offering no distractions.

5 iterations Showroom Dummies is fine, 780 is excessive. Which is the case for almost every song here: excessively repetitive. Trans-Europe “Express” was anything but. You couldn’t fool anyone by calling it 3 tracks. Cut every song in half and I’ll be happy to put on my black turtleneck and join Dieter’s Dance Party.

I liked Soul Flower. That is all.

I’m not much of a DM fan. They have a few songs I like (Strangelove) but I get tired of the sound after a few songs.

This is a record I go to pretty often. Saw Paul Weller live when it was just released. It’s yet another of the Weller incarnations I dig. Some bluesy tunes, some grooves. Moon on Your Pyjamas is a favorite but many good tunes here.

Kate Bush has flashes of brilliance (This Woman’s Work) and many other very good songs. Very good production, composition in some but some pretty dated sounding stuff too.

Aside from an over abundance of didgeridoo, it’s a fun funky groovy record.

If I could put a zero I would.

A good message through much of the album about being strong and independent women. And some good hits. Well produced and they all have good voices, but not something I’d go back to.

Enjoyed this much more than expected. Fuzzy guitar jams with spacey psychedelic electronic effects and proggy vocals. Some cheesy spoken bits.

I had never listed to Neu!, but have listened to music of it's like. I’m definitely drawn to this style and will explore their other records.

S-K is energetic, feminist and punk which would make it a band I should love. And it’s a band I really want to love. But I just don’t like Tucker’s vibrato vocals. I love the guitars, drums, really everything. Except that voice. That said, it’s a great record and deserves to be on the list. Just not my list.

A pretty good record that I hadn’t heard before. Throwback near-psychedelic updated with a modern indie sound.

You have to sift through a lot of Tom Waits to find the gems. He’s a good case for making greatest hits records. Who Are You and I Don’t Wanna Grow Up exemplify the Waits I enjoy. The Earth Died Screaming, no thanks. Averaging out to a 3 between the treasure and the trash.

As tedious as it is to have Bjork on this list so many times the one quality of her work is the string arrangements. Otherwise, please stop.

Forgettable record with uninspired music and average, bordering on irritating, vocals.

Most of this record would be FAR better in the right setting which is not while combing through a spreadsheet trying to reconcile PO’s and invoices back to a budget forecast. But to that end it did provide some energy without creating distraction.

Loose and rough with a thrown together feel that adds to the energy. Played well with top notch backup singers. Fun blues based rock and roll album that is solid throughout.

Liked a lot of this especially the tracks with Sinéad O'Connor. Good bass lines throughout but the vocals feel like they drag sometimes.

Fantastic album! Nobody plays guitar like J Mascis. I love a record that can have a melodic indie pop-like tune like Freak Scene and an equally great angry-emo screamer like Don’t.

The first minute or so of the first track had me thinking, “Oh, I’m going to like this!” And then the vocals began.

Personal Jesus is a fantastic tune. Plus it makes me think of the SubGenius concept of a Short Duration Personal Savior. (https://www.subgenius.com/bigfist/goods/shordurpersavs/X0012_ShorDurPerSav_Lesson.html) Also, the rest of the record has some really good songs that brought me around on Depeche Mode.

There were a couple of tracks that were interesting (Good Newz Comin’) but most were just standard late 80’s.

Nah. Nope. Just run of the 80’s mill synth driven blah. He should have listened to what Matt Johnson / The The was doing with synth music at the time then gone home and reassessed his choices.

Maybe this was a unique take on hip hop at the time. Today, to my ears, it’s ok to listen to but nothing special. Maybe it represents a fork in the path that became a well worn road which is why it feels ordinary.

Fun bluesy rap-hop from Philly. A good listen and doesn’t seem prone to aging.

I’m a big fan of Paul Weller (and Tracey Thorn) so naturally I love this record. It’s no Jam, which is to Weller’s credit that he could create a record that embraces jazz and pop so well. The Paris Match, Ever Changing Moods, You’re The Best Thing,… great tunes. However… as great as those songs are there are few that drag the whole effort down. Strength of Your Nature and A Gospel… are embarrassments. Net result: a 3 that really wants to be a 4

Still a super album. Does the vocal effect get to be a bit much? Maybe, but I like it. I love when a band has a unique enough sound that it really grabs your attention and makes you want to listen. And the true tast is if you want to listen again. And again. This record definitely passes that test for me.

I remembered liking Nanci Griffith a lot more than I liked this record. But then I remembered that it’s Patty Griffin I like. There are similarities (besides the name) so I’ll forgive myself the confusion. This was… good. I liked the music more than the vocals and felt the lyrics were… thin.

Polly Jean is so damn good and each of her records has something new while retaining what makes her great. Raw and unfiltered lyrics, compelling guitar, and strong vocals.

This was one of my favorite records in 1983 and it still is. Everything about it sounded new and urgent and it still does. The Edge and Bono‘s guitar/vocals blend was perfect and Mullin’s drums set the scene for each song. A great album start to finish. I will add that Under a Blood Red Sky is great live record.

A very good listen, The Young Rascals knew how to build great soul flavored pop hits.

Genre defining hardcore punk record by a legendary band headed by a central figure of the scene. RIP Darby Crash.

Rednecks almost permits me to forgive Randy Newman for Short People which, as a very small kid, was traumatizing. The rest of the record is pure Newman which is to say really well crafted vignettes which veer from biting to funny to sweet sung in his sort-of-New Orleans tinged rasp to his piano.

Interesting and enjoyable listen. I love it when this list introduces me to something unique sounding. I may not love it but I don’t feel it’s a waste of my time to explore something new.

Kravits can play and sing for sure. And I’ve seen him live, he puts on a great show. But the record just lacks… something. Originality? Maybe. Mr. Cab Driver is a good one as is the title track.

Dark, mysterious, occasionally unsettling compilation of music and songs/ spoken word / scary people.

Sitting somewhere between Kiss and 80’s hair metal, it’s pretty fun to listen to. Some good guitar solo work.

Well that was nothing special. Some decent songs that are 80’s adult contempo radio worthy… but that’s about it.

Nile Rogers is great and this record is a lot of fun. And that is a statement I never thought I’d put in writing.

What a f*cking great record. Maybe my favorite Bowie album. Lyrically, vocally, musically, production - everything is what you want from Bowie.

The song / skit rap album thing is something I don’t really get. Or like. Some of the tracks are OK and maybe it’s my lack of appreciation but I wasn’t very interested in what was going on here.

I liked this. Aside from the instructional bits, I found the music interesting enough to want it to go on, but not so intrusive that it distracted me from my work. I would definitely listen to more.

I cannot abide this singers vocals. Oh my god I want to kick in my speakers. The music is fine but jesus, that singing!

Elvis Costello is a great song writer and composer. Consistent and prolific. I’m not sure this is the record I would pick for this list but it’s a good one nonetheless.

A weak effort. Uninspired and generic sounding. One would think that 9/11 would have drawn more emotion and passion to this record. Instead, it’s bland and lacking.

There was much to like about this and I wasn’t expecting that. I started off with a dismissive attitude toward the record, but found myself actually paying attention and enjoying it quite a bit. A bit cheesy, but the music is rich and nicely produced. And it’s always a question of how much of this could have been left on the cutting room floor to be boiled down to one record. Yeah, probably in this case. For example, School Girl feels a bit creepy and there were others that didn’t warrant filling out a double album. Overall, a pretty strong record.

mbv! I’m a fan and always have been. This record could have been a huge risk as Loveless was a milestone record for the band and the genre. The wait certainly paid off and this album, while just shy of the greatness of Loveless, is excellent.

Not particularly funny to me and not particularly good music to me. I don’t believe that novelty records have much of a place on this list.

Great and classic Johnny Cash record that I never tire of. He’s a terrific performer and clearly the (captive?) audience is loving it.

Fast and frantic punk rock with pop hooks and great lyrics.

Sounds like late 70’s early 80’s R&B/Soul. Because it is late 70’s early 80’s R&B/Soul.

I am an unapologetic fan of this record. Taylor is a wonderful song writer and a capable guitar player. Fire & Rain is beautiful and poignant. I quite like the percussion on the record, too.

This record was a very strong half good. But not every track worked for me. Still, the music and harmonies and songwriting made it worth while.

I was digging the music but they lost me with the lyric “my flesh it doth rot” on Buried Alive. Suddenly it felt a bit silly. Music rocked though, and I’m sure at the time it was great music to freak out your parents.

Old timey 60’s pop from one of the bands that shaped the sound. A decent listen but I’ve never been a big Kinks fan.

80% fantastic record - and has anyone ever sounded like Hendix before or after?

I had never listened to this record completely before. And you couldn’t get away from the hits back when it came out. While I wasn’t really looking forward to it, I ended up enjoying it quite a lot. They would probably be an amazing band to see in a bar or small venue.

I unexpectedly enjoyed this. To be specific I liked it as a campy goof. Would I put it in at a party? Hell yeah, or at least a few of the songs. Would it annoy some of my guests? Hell yeah, and I would enjoy that, too.

Indie fusion? I don’t know what to call it but I like it.

So parts of this really appeal to me, but then the weird vocalizations got to me. Some good playing here. Songs didn’t do much lyrically.

And with this record, Elvis has left the building.

This is a really strong record. It’s deceptively loose when in reality it’s weekly well crafted in terms of the musicianship, recording, and songwriting.

A nice listen but immediately dissipates and is completely forgettable. Straightforward adult contempo.

I enjoy salsa and enjoyed this record. I don’t know if it’s a good example of the style or not, my salsa knowledge and palate are not extensive or refined. But I’d put it on again.

I’ve tried, I mean really tried, several times, to like Taylor Swift. But I just don’t get the hype and why she’s a critics darling. The songs are kind of OK catchy pop tunes that are fine, nothing special. But they are rather forgettable.

Great record that showcases their ability to thrash or twang. Never gets old.

I found myself grooving along at my desk and enjoyed most of the album. I admit I cut a couple tracks short when they got too repetitive (ex. title track).

I really love that this was even attempted. And a triple album gets a pass for being so ambitious. But there’s 1 outstanding record, maybe an excellent double record worth of songs here. But hell, I’ll go 5 because it’s 3 records of interesting, quirky, lovely, fun songs.

Yeaaahhh, that’s not for me. The music is really good, but no thanks on those vocals.

I literally thought I didn’t like CCR. As it turns out either my taste has evolved or I never really gave it a good listen. This record is damn good. I understand why it’s on the list, and it’s times like this I’m happy I’m doing this exercise.

Rocked this top to bottom and enjoyed pretty much every track. Hard rocking vocals with twin guitar attacks that should be listened to loud. Like very loud.

I love this record as a nostalgic throwback that always brings a flood of memories from youth but it’s just a great listen. The vocals and lyrics are wistful and the production is clean and rich. Several classics that have deserved staying power.

Smith’s are beautifully written and the tone of his vocals and maturity of his compositions are a mark of his brilliance.

I didn’t like as much as I was hoping to. Not quite as funky not quite as soul as expected. A couple tracks were kind of just… weird.

I like Doves, not love, but pretty strong like. Enough interesting elements to keep my attention and enjoyable enough to warrant repeated listening.

There were actually a few tracks that were interesting because of the music and samples. Wouldn’t put it on again though.

Mid 80’s synth/R&B/pop with a few tracks that occasionally surprised me because I liked them. But overall pretty standard stuff for the time with annoying between track bits.

I wasn’t annoyed for the entire record.

Everyday and Suedehead are good pop tunes that buoy the record. The rest, and this is really Morrissey in general, just doesn’t meet the standard set by The Smiths. Yes, his lyrics are as good as ever, but the songs just aren’t as interesting.

I don’t remember this band at all. But I enjoyed this quite a bit. Yep it’s 80’s indie. I like 80’s indie. Is it something special, though? Nah.

Great record with good sound quality except sometime the balance on the audience seems a bit high. I guess that adds to the feeling of being there. But who else makes a guitar sound both bluesy and so clean at the same time? Amazing vocals too.

I’m not much of a fan of harmonica, so we’re not off to a good start. I’ve tried but I just can’t find a way to really like most of Dylan’s music. Some I can, sure. I’d rather sit and read his lyrics than listen to a lot of the music. This will get a higher score than I would give for just my enjoyment because of the importance of the record.

Grooved through the whole record and liked most of it. A couple tracks didn’t work for me but on the whole it was good listening.

Superstition is the standout with the rest of the record still very good. Rich soundscape played by top musicians and Stevie’s keys and vocals. Really good record.

I thoroughly enjoy this record. Keely Smith is a perfect pairing for Primo and should get more credit. The scat and call and response is great and you can feel how much fun it probably was to be in the studio.

I’m not a huge blues fan but damn this record is outstanding. That Clapton guitar is amazing and Mayals vocals are killer.

I never realized this was such a terrible record. And that Mark Knopfler and David Bowie each have terrible songs on it. What’s Love Got to Do With It is a pretty ok pop song. I guess it worked for Tina Turner.

This is half of a really good pop record: a 4 for the first half with some hits and a 2 to 3 for the second half that ran out of gas.

A couple standout songs (Catch the Sun, Sea Song, Rise) but otherwise just a pretty OK record.

Nobody has sounded like X before or since. Punk? Rockabilly? Yes and yes! We’re Desperate is pure punk rock but they can follow that with Adult Books which is… what? It’s another great track is what it is and don’t put X in too small a box. And Billy Zoom is a killer guitarist.

While there is some quality musicianship and more than a few good tracks it also feels kind of like a soundtrack to a musical.

Probably my favorite or second favorite Bruce record. Stripped down, sparse, genuine. Showcases Bruce’s songwriting skills as a more mature product. Maybe his last great record.

After changing my expectations I liked this more. It’s a different Elvis. Still a good one, but different from the Elvis I usually want to hear.

Annie Lennox has fantastic pipes. And I think the album generally works well, I enjoyed it and can’t remember ever actually listening to it end to end.

I love that GZA commits to the king fu movie bit. I really like this record, way more than most of the others on this list…

Exceptional album that showcases how great this mix of artists is/was. Songwriting, harmonies, guitar and music: it’s one of those rare moments captured on an album that is something special.

Another rap record that sounds like the other rap records from the nineties. Maybe I’m missing something.

I guess it was interesting. It wasn’t enjoyable to me but it wasn’t “bad” and maybe for the time it was bold.

This one is going to be heavily dependent on mood when listening. I happened to be in the mood for a kind of softer toned, downbeat record so this worked quite well. File under: sad jazz

Joni Mitchell is pretty great. While I love Ladies of the Canyon and Blue, this record feels like it sits somewhere in between and not quite as appealing to me as either of those. But still… pretty great.

I’m an unashamed fan of this record and It’s unabashedly melodramatic gritty scenes of hope. Springsteen’s vocals are perfectly matched and tuned to stories and music.

Folk and soul with great arrangements and super vocals. Strong record.

I love this record. Simple strummy power pop with great harmonies.

This is purely for a certain percent of the population to which I don’t belong. Well, maybe on a dance floor with a great volume of alcohol…

Sometimes I forgot to be listening. Which isn’t a great sign. This was ok. Just nothing to grab onto and hold my attention.

I like this but I can only take so much.

Pretty great thrash from back in the day. Focus on the musicianship, not the words, though.

I’m not a big EJ fan but there’s no denying there is a unique brilliance to his sound and lyrics which have had a major influence on pop. Some true gems on this record. Dragged down a bit by the hokey Candle in the Wind.

This is supposed to be campy, right? I was supposed to be amused? I’m going to assume so because otherwise this would be a 2. But come on, Tits on the Radio! A bizarro world Comfortably Numb cover!? Hahaha! It’s baudy and silly fun with a funky disco groove.

Not his best IMO but still a very good record. No weak tracks and continues to showcase Stevie’s evolving but clearly identifiable sound.

Almost everything Stevie has to offer can be found here with Higher Ground being the star of the show and Don’t You Worry and Living right up there. Funky tunes with social comment/observation that doesn’t feel preachy.

The first REM record I honestly was disappointed in. After 4 (maybe 5) great records in a row this felt like the definitive move to keeping the momentum of the radio hits from Document. It worked for that but not for me.

A pretty strong record that I didn’t love at the time because it moved her toward the mainstream after the BRILLIANT record The Lion and the Cobra. But it’s quite good and her vocals still shine.

I can understand why I should listen to this. It was weird and interesting. But nothing I need to listen to twice.

This is an example having to separate the art from the artist. Be sure he is a documented a$$hole. But I sure do like this record as much as it pains me to state. I’ll never listen to it again unless it’s for free because I hate that he gets .0000012 cent for my streaming it for this.

Trite, derivative, over polished pop.

I love Sarah Vaughn and that this recording actually makes the listener feel like they are sitting at a table with a cigarette and a cocktail is a gift to us. Her vocals are maybe only second to Ella.

I remember at the time thinking that this was the last stop on the punk rock train. Where do you go from there? Which was kind of the case. I’ve listed to this a few times and am maybe oddly attracted to it because it’s on the hairy edge of just completely terrible. It belongs on the list because it should be experienced.

Ok it’s 80’s pop. Until you remember that it’s “80’s” pop. And this is a band making pretty good pop music by a band led by a… clearly non-hetero/maybe bi/maybe gay definitely non of our business/ singer with a very good voice. In the 80’s this was pretty ground breaking in the MTV age.

I love The Cramps and I love this record. They were just so out there and committed to being only what they wanted. Whatever that was. I guess a B-horror movie punk-a-billy outfit.

Kind of the definition of 70’s rock and this is where the Tyler/Perry duo was kind of perfect for the time.

Aguilera has great command of her voice and can at least mimic really good R&B/soul. The record drags despite the high degree of energy in much of the music because it’s a lot more of the same. A song at a time might be good. A double album is self indulgent.

Excellent record all the way through and Thirteen is a highlight among the many great pop songs. This is one to go back to over and over that never gets old.

Every track here is pretty great. Excellent songwriting and top shelf musicians with Van Morrison’s soulful vocals make this easy pick. It’s a bonus that this record sounds wonderful.

Fuzzy, sludgy, grungey Seattle sound record. All good tunes, nothing is a crusher but a good record to put on and remember the early 90’s.

Wilco is excellent. Always. A.M was great and picked a nice path after Uncle Tupelo split. Moving forward without abandoning their alt-country roots.

Why is this in here? It’s just not a great record. It’s fine but forgettable.

An ok listen but not sure why it made the list.

Cranked up on a road trip or hanging out drinking beers this record is the perfect fcking rocker to put on and turn up.

Excellent record all the way through and bears repeated listening. Another artist lost far too soon and leaving us wondering how much more great music he would have created.

Sure it’s dated and kind of corny but it set a course for pop to come. A fun listen.

Tainted Love is a great cover. And Sex Dwarf. Sex Dwarf! Otherwise…

It’s very good 80’s smooth jazz record. I do like Sade’s sexy smooth voice and the sound of this record. But ultimately I don’t find it especially memorable.

Been a fan of Richard Thompson for many years and Sandy Denny has such a great voice that can swing from folk to psychedelic rock. This record is a a great listen.

I’ve been waiting for this record to come up. Another all time favorite for me, I remember being pretty blown away when it came out. These songs feel like diary entries translated into bitter, angry, acerbic, heartbroken / heartbreaking lyrics. The songs have the perfect level of raw-edged production. I went to see Phair perform the record for the 30th anniversary and she was fantastic.

This is the kind of record that makes this list worth while. It’s brilliant in ways that would radiate out in waves that would influence every cool band that followed.

Pristine recording, Knopfler’s brilliant guitar and singular vocals make this a great record. This was HUGE when it came out. Thanks MTV. Not my favorite Dire Straits but worthy of the list.

Haven’t listened to this in a loooooong time and don’t know why. I really like this record. I like the way it flows through the tracks: it sounds like it’s meant to be listened to top to bottom. I like how the songs vary around a central sound.

CHVRCHES has always been a secret guilty pleasure band for me. I really can’t even put my finger on precisely why I love this record but just enjoy the mood, vocals, melodies,… So I guess the secret is out.

Not the Big Star of previous releases and not the brilliant songs and sound that defined them as the band that launched and influenced so much of the great music of later artists.

Missing the energy and fun of The Beach Boys. Ambitious without a payoff. Also kind of weird.

A top 3 Police record with some classics. Only weak tune is On Any Other Day.

Driving post-punk/goth-ish with great guitar/percussion going on to compliment Siouxsie‘s tremendous vocals. Almost every track is compelling, strong record.

I loved this record when I first got it in maybe 1985 or so. Very different from what I was into at the time but my cousin urged me to give it a listen. Strong tracks top to bottom.

One of my all time favorite records. This is the very definition of punk rock. No band has ever replicated lyrically or musically the genius of their simplicity and the economy of their music and song. The words are almost childlike but there is a street tough worldliness behind much of them. Veering wildly from anthemic to heartfelt to silly it’s a far more diverse record than the 1-2-3-4 counts and chords initially show. And nobody down-picks like Johnny.

I was surprised that I knew several songs. But not surprised that I had forgotten this band.

A few listenable tracks if you have the time and attention span. Tough for me to get through.

Blues weirdness. But quite listenable.

I like Jack White in most of his incarnations. This is a slickly produced record that retains at least some of the grit.

Hip Hop generally doesn’t get me excited or keep me interested. This record doesn’t break that expectation.

Yet another record that sounds like something you’d hear in an upscale/hip hotel elevator or bar/lounge. It’s not offensive, it’s pleasant, it doesn’t distract or draw attention.

I had to check if this was produced Phil Spector but it was Brian Wilson. Very dense and a good listen with classic and uniquely identifiable Beach Boys harmonies.

I remember liking this a lot more when it came out. It’s aged into being a standard adult contempo record. It’s good, just not special.

I like Metal Mickey well enough, and much of the music. But the lead singers voice gets on my nerves.

Have this CD but haven’t listened in many years. Really enjoyed it again and now I remember why I liked it, aside from the great band name 🙂

Psych folk just isn’t my thing. I like folk, but not this. The lyrics and vocals just feel pretentiously sincere. The music is mostly ok.

It’s interesting. Some of it is even good. Overall it’s a bit exhausting.

Bits and pieces of some of the tracks are interesting to listen to. More than that is asking for a migraine.

I don’t feel the prog, just a decent pop/rock record. The several hits on this record are good and memorable, even nostalgic. A good listen.

Cornell had one of the best voices in rock and this record showcases it. Excellent record but point deducted for the ridiculous song Spoonman which features a spoon solo.

I’m not a Prince fan although I appreciate his talent and why others like him. A couple songs are fun or good to listen to.

Setting aside that Clapton is a dick, he’s a pretty great guitar player and singer. This is an ok record with some good playing. Not a fan of I Shot the Sheriff. Leave that to Marley.

Psychedelic country blues! While this isn’t something I’ll listen to again, I enjoyed it and can see why it’s on the list.

I kind of forgot how much I like this record. Or maybe I never knew because I never listened to it as a whole. Damn, it’s pretty great. Weird and musical and Morrison’s vocals are great.

A bore.

<Cutting insult of how bad this record is/>

I reluctantly feel I need to confess that I actually liked this record. I liked the diverse sounds and mix of influences. It was… fun?

Bright Lights is great tune and the whole records is very good. I’m a Richard Thompson fan. He’s a strong song writer and an amazing guitarist.

Art rock/post punk record with several great tracks.

Iggy is fucking legend. It’s not Raw Power, but it’s pretty great. The title track is even a bit… funky?

A great record with outstanding lyrics that is a total sonic experience.

Play the hits! With tremendous energy! The rest is ok. But c’mon, the hits are great!

Did not like. I found it dull and I do not like Cocker’s voice.

This is a solid record. Apple writes excellent songs and accompanies her compositions with a voice that was years beyond her age. Worth a listen every once in a while.

Why? There were about 2 songs that were bearable which gets it to 1.6 stars. Rounded up.

Listened to this on a solo road trip in the frame of mind that matched the mood. Very much enjoyed and I like her voice.

As a closet Madonna fan, I was glad when this record came out. And it has a couple of good tracks. But overall it’s not great. Her vocals are lacking. The tracks rely on the producer(s?) to create a contemporary sound.

I’m no expert on funk but I know what I like when I hear it. And I like this. A lot. Zero tracks that I would tune out or lose interest in.

One really good tune (Paper Planes). The rest seemed to have some small degree of undeveloped promise and are well, just annoying after 30 seconds. One star.

Costello continues with another great early record. Accidents, Oliver’s Army, Green Shirt, What’s So Funny,… all great tracks. Not such a fan of Goon Squad though.

Wow, this is not good. Durst has an annoying affect on his vocals. The guitar and music is generally good and keep the record from going completely under.

I was digging the music quite a bit and flipped over to find out what the words were about. This went from a 4 or 5 to a 1 instantly.

Well this one’s easy: 5. It’s relentlessly good and everyone contributes strongly to the effort.

Fresh, compellingly interesting, unique and a good listen. Will be listening again.

Wu Tang works better than their individual efforts.

This record is hit or miss. The good songs (hits) work well with talented musicians and Williams’ twangy, slightly drunk sounding vocals. The misses are tortuous (Joy).

I like Blur less than I used to. Which isn’t unusual - tastes change. I really like Leisure and still do much better than this record. Parklife kind of drags and gets a bit boring. It’s fine though.

After about 5 minutes this faded into being something like the soundtrack to a movie I left on but got distracted and walked into another room. There was something musical happening but it may as well have been playing nearby because I no longer cared.

After the perfection of Rumours it’s hard to judge Tusk. It’s a good record, it’s just not special.

What am I missing? Because this sounds like a thousand other records. Everything here has been done before and better. Much is dated sounding 80’s R&B. And stop it with the Prince comparisons.

This is just on the good side of the fuzzy edge of what I can enjoy of this style of jazz. It’s dramatic and visual (or maybe I was just envisioning scenes based on “dance” and the album title) and interesting.

Crowded House is fine for adult contempo. It’s not *completely* bland.

At best I wasn’t completely annoyed by this… until Fingernails came on which just grossed me out.

The songs with Dolly as lead are the standouts to me but with only 2 exceptions (To Know Him and Telling Lies) this is a very good record. A little more bluegrass would have brought the energy up a bit.

This was a surprise for me. I went in expecting to very much dislike this record but maybe I’ve entered a different phase of my appreciation of early German electronic music. Yes, the compositions are quite long but I found I didn’t bore of them as expected.

Liked this quite a bit with few exceptions. Melancholic without being broody. A good gray day listen.

I guess I can understand why it’s on the list. There are a couple tracks that come together but much of this feels like it needed a few more iterations of editing or something to tighten up. Not unhappy to have listened but won’t return to it.

This is a Waits record I like which is to say I really enjoy a good half of it. It’s all pretty genius but much of it not necessarily something one listens to more than once. The guy is a brilliant song writer.

I get Cohen’s appeal to many, mainly as a poet/ lyricist. But I just cannot listen to his music.

Albini elevated PJ to a higher level. The sound is far more listenable than Dry and the while it’s has a bit of polish on it it’s still rough cut enough to feel all the power. Amazing record that holds up.

Started off pretty good with groovy 60’s vibe but ended on a bummer of trippy children’s story spoken word.

Art rock that with some cutting could be a very listenable record, clearly not what they were going for. I’d listen again but with a finger in the fast forward button.

Thought I was going to thoroughly dislike this but actually enjoyed it. Jam band tunes without the boring jams.

There are some Kate Bush songs I love. None of them are on this record. I found this exhausting. There are so many elements (vocals, songwriting, instrumentation, production,…) of what I like in music here but none them come together in my opinion.

I’ve never thought of my self as a Bruce “fan” but I think I’m becoming one. The storytelling is rich and feels authentic and lived. The band energy is dynamic (more piano than I remember) and cohesive. This is just a fantastic record that holds up to close listening.

Really great record that doesn’t fit neatly into any category. Is it glam? There’s definitely a Bowie influence (or was it the other way around?). Rock and roll with sax and piano and Ian Hunters fantastic emotive vocals pulling all together perfectly. Also, I was introduced to Mott the Hoople in high school by a buddy who was a huge fan so there’s a big nostalgia factor here.

A pretty powerful record dealing with some very human stuff like grief and disillusionment. Lennon was a masterful songwriter and musician and able to channel that emotional energy into a collection of memorable and relatable songs.

Britpop bright spot of the early 90’s, strong album throughout. Deserves to be a permanent but spread out rotation.

Dated. And yet for reasons even I haven’t been able to comprehend I actually was entertained by most of it. Body Count was an unexpected tangent that I definitely didn’t see coming back in the day. And who would have foreseen Ice-T being a mainstream television actor?

A Can record I actually liked! Well, Aumgn and Peking O are a bit much, but the rest of the album is very strong. Out there enough to be interesting and most of the tracks were approachable enough to want to listen through to the end.

Too Much to Dream and Get me to the World on Time are good tracks. The rest is ordinary. Maybe it was groundbreaking at the time? Maybe. The Strawberry Zots did a really good cover of Get Me to the World on Time.

This is bad music. So bad it’s almost funny. Almost. Instead, it made me angry.

Most of the tracks sound the same. A few have some good samples. Mostly it’s just dated sounding rap. Check the Technique was the highlight for me.

Track 1: “You don’t see Bill Gates and Donald Trump arguing with each other…” Ohhh 2002, if you only knew what was to come… I enjoyed a track or 2 but nothing special and a bit dated. I don’t know why rap records need/needed to have so much extra verbal filler or little skits or whatever.

Groove Thang is the highlight here. And I felt faint shades of Devo in terms of some humor on a couple tracks, which helped. I think the humor was intentional. It was kind of fun.

2 Weeks is a good tune. Cheerleader is another that caught my ear. Otherwise a bit dull and ordinary.

Lyrically bold, strong vocals, dynamic piano that blends pop and classics elements. Highlight: Crucify (obviously), Silent All These Years

Middling angst edged relationship pop songs.

A hip hop/rap record that wasn’t Yet Another or a bore or filled with unfunny skits! Great sampling and fills, raps that had great flow and cadence. Interesting and fun record.

Sexy and boring at the same time. Which is an achievement I guess.

Stepping Stone is just a great tune. The rest of the record is good 60’s garage rock.

Wide range of sounds going on from almost shoe gaze to kind of psychedelic. Having very different expectations for this record I was happy to find I enjoyed it very much. Highlight: Jennifer

Not completely repellent but nothing I would listen to again. I think I understand what they were going for. They didn’t get there.

Good lyrics, overly dramatic vocals.

Country blues jams aren’t normally my thing but this album has a lot of gems. The Allman brothers were a gift to American music. Betts and Oakley are brilliant as well. For me it’s a 4.5 so rounding up.

I grew up in a house where Irish folk and rebel music was played. And I was very much into punk / hardcore in the 80’s. So when I heard the opening bit of Sick Bed of Cuchulainn when it came out I pretty much went bonkers. I love everything about this record.

My favorite Norwegian punk band. Extra credit for having a song about a pizza place that also references calzone.

I liked this but would have rather been in a club than commuting while listening.

Charles has such a great voice and he can swing and croon. Enjoyed a lot when the horns were swinging. Sometimes the strings felt overdone. Those backing vocals are just terrible though. Highlight: Don’t Let the Sun Catch You Cryin’

One of the few rap records I liked. Even the filler didn’t bother me as it does in most rap records. Highlight: It Was a Good Day

A good listen that I would run through again. I’m assuming this sound was a big deal in the late 50’s but there is more “daring” and interesting stuff from that time.

Not overly produced pop country. Maybe that’s why I give Steve Earle a pass and actually enjoy his records. Even when it’s a bit country cliche and singing about head in’ down the highway and never looking back.

A sonic experience with pristine production. Second best Pink Floyd record and still a 5.

Joni Mitchell is amazing and about 30% of this record is excellent. Her vocals and phrasing are beautiful and the harmonies are unique to her. But some of it’s just… kinda weird.

Kind of interesting, they have a sound. Haven’t heard them before and maybe worth another listen at some point. They certainly understand how to construct a song and are clearly musicians.

Love J. Marcus melodic riffs / grungy / fuzzy wah wah guitar and plaintive vocals. Just Like Heaven cover is perfect.

Gave this an honest focused listen while raking leaves. And I was a little surprised at how much I enjoyed this record when I could give it the attention needed. The intricacies of the arrangement and harmonies are captivating. A totally different and more enjoyable experience than just “having it on”.

Cool mix of Indian and electronica. I like the cultural mashup. Is it great, no, but it’s interesting and I’d listen again.

Cash’s version of Hurt is an impressively effective cover simultaneously bringing Cash into contemporary context while introducing him to a generation. The best track on the record. Personal Jesus is also an inspired pick. However, some of the covers just aren’t good, even with Cash’s gravelly vocals. Bridge Over Troubled Water could have been cut.

Grunge before it knew that’s what it would become. Pounding drums, grinding guitar, screamy/ yell-y vocals, loose and sloppy - in a good way.

Let’s Get It On tells you exactly what it’s gonna be about. And then it gets down to the sexy business. The only question is whether this should have been a longer record…

80’s flavored music to have on during chill time. Nothin I’d need to put on again.

35 minutes, 12 good jangly indie songs, plus one of the most memorable melodies of its time.

Springsteen has always been an incredibly talented songwriter and this album continued to put that on display. The music suffers a bit and lacks the unique sound from his earlier and other better records. Highlights: Downbound Train I’m on Fire

Early stuff by Rod Stewart is pretty good and Ronnie Wood on guitar raises it a notch. Good record I would never normally listen to but enjoyed.

Almost turned it off during Gang Bang but was determined to see if there was anything on here worthy of making this album notable. There wasn’t.

About half of this record is really good and showcases Albarn‘a talent. The other part becomes a bit repetitive and (I hate to say) boring.

While it’s a lot to take in at one sitting it’s also aurally interesting and I never found it boring or fatiguing.

I like the British Reggae sound of early UB40 with a little dub reverb, some saxophone, a hint of ska,… kind of timeless.

Buckley isn’t for me. Highlight: Jazz guitar on Love from Room 109

Most tracks are for the rave/club. Tough to listen to outside of that environment. Cool choices for sampling and mixing. Listenable highlight: Two Hearts in 3/4 Time

It’s fine as background music, some of it wanted to skip through. A few tracks are decent as groove background the hip hop/rap aren’t noteworthy.

While some of the tracks are way too long for my admittedly limited attention span, I was surprised to find I liked this record a lot. I don’t even like rap. Aside from the rich storytelling and depictions of street life, I like the cadence and flow and music.

Wow, I didn’t remember this being such a good record. In fact, I don’t remember ever listening to the whole album before. The hits, sure, but there are a lot of fun tracks here. Power pop with a hint of 70’s punk and new wave in the mix. And it’s still mind boggling to me that Belinda Carlisle was briefly the drummer for the Germs.

I don’t like Nick Cave.

Top to bottom a pretty strong album of indie/alternative. DW had a definitive sound which risks getting repetitive but instead keeps a flow across tracks. Super listenable straight through.

She has a very nice voice, the music is perfect for the tone and well arranged and played. Everything really works… except the lyrics just don’t do much for me. That’s more of an observation than a critique.

Cisco Kid I enjoy. The rest is a bit of a slog.

I really love this record. My older brother’s best friend gave me a dubbed tape of it when it came out and it blew my 8th grade mind. The slightly discordant sound and Butler’s droney vocals but still kind of dancey style was new and unique and I still love it.

Smart, quirky, indie songs. Only ever heard Novocaine before so enjoyed the record.

Euro house dance rave electronic mish mash. Not great to sit and listen to.

Although there is a lot of complexity in the composition and harmonies this record did little for me. The first track (Don’t Go Near the Water) lyrics are silly and ham fisted and it doesn’t get much better from there. Highlight (if there is one): Disney Girls (1957)

I’d listen to Solsbury Hill all day but the rest of this just did nothing. I get that it’s important and set a whole new direction for Gabriel. A direction that led to some really great stuff down the road from this record.

Plays like a greatest hits compilation because it’s so full of crazy good songs. Excellent record.

The first track almost had me interested. Then the second track came on. And there was no recovery.