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.

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 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.

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.

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

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.

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.

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.

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

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.

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

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.

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.