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.
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.
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.
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.
From Young Americans to The Worst version of Across the Universe ever. How can such a great talent be so extremely hot or cold?
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.
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.
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.
A personal favorite and a band that influenced a whole next generation of ska and punk.
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.
Brilliant. Genius. Been listening to this album for decades and will continue to revisit it for years to come.
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.
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.
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.
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.
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.
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.
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 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.