An odd selection unless there are multiple Lana Del Rey selections. I believe Norman Fucking Rockwell!! is a far better release. This is a decidedly smaller album, with a somewhat Americana feel that puts a focus on her formidable singer-songwriter skills. She is all over the place here, meaning she touches upon various parts of the country in pursuing her vision. Her evolution as a songwriter is consistently impressive. In many ways she shares a similar trajectory as Taylor Swift (albeit from different starting points). And, both have Jack Antonoff in their work group, which is an enormous asset.

Hard to revisit this one objectively. I remember purchasing this when it was first released and thinking this is the likely the best release of the year and one of the tops of the decade. Not much has dissuaded me that my initial impression was incorrect. I am a sucker for the combination of melodic pop and overlays of loud guitars. Add to it odd, cryptic lyrics and off kilter harmonies and I am sold.

Little known fact. This album came out in August 1973 and 72.4% of babies born between April and August 1974 were conceived while this record was playing. The Isleys expanded from a trio to a six-person unit for this one and embraced funk. There are great covers (Summer Breeze, Sunshine, Don't Let Me Be Lonely Tonight) that transform the originals into soulful explorations. The self-penned Who's That Lady Pts 1 & 2 is a classic and, for me, has some of the best guitar work on a song that went Top Ten on the Billboard Hot 100.

This sounded like nothing else on the radio in 1974 when I bought this album (they looked like no other band as well). Elements of glam Bowie and Roxy Music, while predating some of the theatricality of Kate Bush. I was all in hook, line and sinker. This is still one of their best. Great melodies (and lots of twists and turns along the way) and very witty lyrics. For me too many highlights to mention, although This Town Isn't Big Enough, Hasta Manana Mousier and Talent Is an Asset are standouts. Loved this in 1974, still do.

A threshold question is do you like shoegaze – I do. For many then this is like grading on a curve. I understand that. However, along with My Bloody Valentine, Ride is the probably the other seminal shoegaze band. Putting aside the discussion as to whether they visionaries, the combination of pop songs and dense, hypnotic noise works for me.

Hard to revisit this one objectively. I remember purchasing this when it was first released and thinking this is the likely the best release of the year and one of the tops of the decade. Not much has dissuaded me that my initial impression was incorrect. I am a sucker for the combination of melodic pop and overlays of loud guitars. Add to it odd, cryptic lyrics and off kilter harmonies and I am sold.

I heard this a lot growing up. My closest friend's Mom played it over and over on an old stereo console that was a large piece of furniture. Perhaps because I heard it over and over I became enamored with the deeper cuts as opposed to very well known title track and The Boxer. The Only Living Boy in New York, Baby Driver and Keep the Customer Satisfied stuck with me then and still do today. In many ways, the seeds of much of what Paul Simon created in the 70s and 80s can all be found on this record. Superb.

Matt Johnson was/is an interesting artist. I bought Uncertain Smile as a 12 inch single on St. Marks Place in NYC – the go-to place for imports back in the day. I thought it was great then and it still holds up well for me. The Jools Holland solo is awesome. The rest of the disc is not at good, but still a solid listen. An arty Thompson Twins, Matt Johnson’s influence was immediate. This disc could be a John Hughes soundtrack.

Referring to this as not the best Talking Heads release is unfair. There may be no band that maintained as high a standard of excellence for a long career. I can hear on this record the early CBGB influences as well as the idiosyncratic elements that led to the great run of releases in the 80s. There is an edginess that belies the catchy melodies. From day one, the musical interaction between Chris Franz and Tina Weymouth is special (no surprise). My favorite Talking Heads release may differ from day to day, but the band is always in my top five.

In hindsight I can see why this was necessary step in Taylor Swift’s journey. At the time it was released I thought that this “pop” disc was different from many of the pop releases at the time because of the presence of more observational lyrics. However, the focus on synthesizers didn’t always work for me. Also, the hodge-podge of producers (which has become, and still are, a trend) coupled with multiple songwriting partners results in a lack of cohesiveness.

This is a wonderful tribute to Bo Diddly. Most of the album is comprised of Bo Diddy covers or Bo Diddly inspired tunes. Side one is a tour de force - Who Do You Love Suite. Almost all rock groups in the late 60s and 70s wore the Bio Diddly influence on their sleeves for a song or tune. What Quicksilver Messenger Service did was something different. Rather than simply play or modify the famous Bo Diddly rhythm, they use it as a starting point and explore all the intricacies contained therein. I also love that it was recorded live at Fillmore East and Fillmore West, but they don’t tell us which coast.

Prior to this release I considered R.E.M. a band that I liked very much but didn’t love. I thought their releases were uniformly good, but not excellent. Automatic for the People changed that for me. The move from jangle pop to more moody and reflective songs resonated with me and I think resulted in their most cohesive and overall strongest work.

Very listenable, but a little too subdued for me. As a debut, though, it is impressive.

A threshold question is do you like shoegaze – I do. For many then this is like grading on a curve. I understand that. However, along with My Bloody Valentine, Ride is the probably the other seminal shoegaze band. Putting aside the discussion as to whether they visionaries, the combination of pop songs and dense, hypnotic noise works for me.

Talk about tearing the roof off the house. 'nuff said.

The album is essential for The Message. A few other tracks are very good (I like Scorpio), but it really is all about The Message. If you were in NYC in 1982 this was inescapable.

At the time of its release, I listened to Red Dirt Girl and liked it, but would for years reach for Wrecking Ball when I wanted to listen to Emmylou Harris. Subsequently, I spent time with the album and truly appreciated it for the tremendous statement it. Frequently a quiet statement, and a representative of what a strong songwriter she had become.

I couldn’t get into the earlier Dirty Projectors releases, but Bitte Orca was one of my favorite releases of 2009. The songs were more conventional in structure than past works but maintained the eclectic playfulness that Dirty Projectors was known for. While there is a lot going on throughout the release, it somehow is all grounded. Well done.

Jeff Buckley’s only studio album during his lifetime. It is hard to objectively review without mentioning his enormous potential. As a stand alone album it is inconsistent, but worth listening to for the high points, including his monumental cover of Hallelujah.

I think there are two types of PJ Harvey. Great ones and greater ones. The power of the work is extraordinary, and the work is one of beauty notwithstanding the pervasive images of war. Time will tell if this is her career peak.

Goes a long way to explaining why the genre was called Country & Western. The influence of this release was enormous at the time and it is apparent what that was the case.

Rocket From the Crypt should have been huge. A punk rock band that thought they were a Stax soul revue. Scream, Dracula, Scream may be their best. Their major label debut is a very impressive, creative endeavor.

I am a fan of this Sinatra period. I did not love the earlier big-band era, but the worn, lonely Sinatra always worked for me. Nelson Riddle's arrangements are spectacular.

While there are elements of this I really like (Klezmer anyone), it always seemed to me a hodge-podge of styles that didn't hold together for me. I remember the enormous buzz when it was released and tried to get into it at the time. I had the same issues then that I do now.

I have determined that there are a few Beastie Boy camps. I am in the Licensed to Ill was great, but Paul’s Boutique was awesome. I was on entirely on board with the latter’s retro-funk and innovative (and extensive) use of samples, and somewhat less of a fan of the sophomoric elements on their debut. Also important was the maturation and evolution in each of their early releases, through Check Your Head . This leads me to this, their fourth release. I enjoyed this when it was released, but it represented a slow down (perhaps inevitable) in the evolutionary progression. This resulted in a somewhat uneven release that gets played less that the two that preceded it.

This just doesn't work for me. The fact that it is in French doesn't help.

Transformational. Changed the face of hip-hop and, by extension, pop music. Plus, introduced the world to Snoop. 'Nuff said.

It is ironic that Raw Power is the release after Fun House as raw power is how I would describe tis release. Garage rock at its finest or the beginning of punk. It really doesn’t matter. My mother was not a fan when I was listening to this at 13, which, of course, made me like it even more.

An almost all-time classic. A bit uneven, and at times sprawling, but the highs are glorious.

It is hard to review this one as objective. This was released soon after I turned 16 and it was omnipresent during the last few years of high school. The inevitable backlash occurred (not just to the album, but Eagles in general). Nonetheless, I was and still am a huge fan. The album is strong from start to finish and has four distinct vices and songwriters. A classic and masterpiece of the genre.

While I like Nick Cave’s output quite a lot through most of his journey, I never warmed to The Birthday Party. The punk, noise rock elements seem mannered and forced and the misogynistic lyrics were always problematic (although more so now). While a lot of great rock is created by bands seemingly on the edge of implosion, this always struck me as they were trying to hard to be in that state. There are elements that are derivative of Joy Division but can’t come close to that bar. Ultimately, it is most interesting to me as a historical note for the Nick Cave journey.

A good example of a product of its time. Not just dated in terms of production, but represents a fervent desire for critics (and the masses) to embrace hip-hop - especially publications like The Village Voice. It is, today, imminently listenable, but simply very good, not great.

When does a mix of styles and eclecticism result in a lack of a cohesive vision. I enjoyed the Sugarcubes and was surprised by the range on this, her, "debut". The dance music focus may have seen odd at the time, but for me it has aged well.

This is quintessential southern rock for me. The range of the songs are outstanding (I think they are underrated in that regard) and there is an immediacy to many of the tracks that they were not able to replicate on later releases. Credit to Al Kooper (an unsung hero of rock and roll) for the production. Free Bird has been overplayed to the point of distraction, and I am not sure this is the best version, but it is iconic, nonetheless. Surprisingly, this doesn’t get many mentioned on many lists of best debuts.

This falls into the wait and see category for me. I liked it a lot when it was released, although didn't see much more than traditional country songs recorded in other styles. That may not be fair in that there is a lyrical depth that is uncommon in the genre. All that said, the accolades that were heaped on Golden Hour seemed excessive. Six tears later I am still at very good, but not a classic. Time will tell.

I have always admired Paddy McAloon as a songwriter. The 80s frequently get a bad rap musically. While I have a lot of issues with a lot of the production (overproduction) in the 80s, there is a great deal of good songcraft to come from that decade. For fans of sophisticated pop, Prefab Sprout’s Steve McQueen is near the top of that list. With obvious tips of the hat to Pasul McCartney and Elvis Costello, with some additional jazz-pop elements thrown in, Steve McQueen is a great listen from start to finish.

This falls under a group of music that I call club music without the club. While it works as a standalone listen (I do like Allison Goldfrapp's vocals), it loses power outside the club. The combination of politics and electronic music can be powerful, but some songs seem to go on a bit too long. That may work in the club, but the focus on drum and bass at the expense of melody is problematic to me.

A great album or the right album at the right time, that is the question. Nonetheless, the only album written and performed by an all female group to go to number one. Holds up well as tightly written, imminently catchy, well produced pop songs. While it frequently gets categorized as new wave (and often referred to as a cornerstone of the genre), it is more good old fashioned power pop. That is probably responsible for its enduring appeal.

Hard not to like a good tough blues disc with hard rock elements. Doesn’t resonate with me as much as Rubber Factory, but we are talking about from levels of greatness. The Black Keys have a deep appreciation for classic rock and the blues and bring those elements forward in a manner that essentially creates a new genre.

This album was very important to me and the first Queen album I purchased way back when (I was 13). Audacious and far from perfect, it was, nonetheless, perfect to me at the time. While not everything works, it also clearly provides a roadmap for much what comes later for the band. There are vocal overdubs throughout. Procession introduces Brian May’s layered guitar sound. March of the Black Queen is a precursor to Bohemian Rhapsody type epic. Nevermore is a classic Freddie ballad. Loser in the End is a Roger Taylor pseudo-heavy metal contribution. The only thing missing is a John Deacon pop song. Lastly, the Mick Rock cover is a classic and was the basis for the Bohemian Rhapsody video two years later. I return to this release often.

A key release during the mid-sixties and set the stage for almost all blues-based rock albums for the next decade. Amazing in its simplicity. Ramblin’ On My Mind is the first ever Clapton vocal and provides a blueprint for what he has been mining ever since. The overall musicianship is very high quality. John McVie bass is solid and, along with Hughie Flint, provides the requisite support for Clapton's guitar and Mayall's keys. To me this is ageless.

A perfect example of music that is both beautiful and sad at the same time. For those that followed the Nick Drake story in a chronological manner, this, the last Nick Drake release is a significant departure. It is stark and focused inward. It is very short, but beautifully effective, with vocals frequently in a whisper.

The last Steely Dan “band” album. Perhaps that accounts for the balance between studio wizardry and live chops. Still working on their special blend of rock, blues and jazz, the songs were tighter and more focused than before, yet still had the ambiguous lyrics that had many college students up guessing. This could be the best release (Aja is in the running) from one of my favorite bands.

OK - it may not be a frivolous as earlier ABBA releases and it is well crafted pop, but it sounds like a musical that was never made. I can admire it on some level, but it doesn't move me or grab me.

I have always loved this release. XTC has always defied categorization. Each song exists as stand alone gems. Smart pop? Chamber pop? Whatever we call it works for me. Also, Todd Rundgren as producer is a good match for the guys.

This may be the best Bad Brain release. Not quite the hardcore punk of their debut, they still played faster and more proficient than their punk forbearers. I remember travelling down to DC to see them and was blown away - especially by H.R.'s singing . While Dr. Know's guitar doesn't work for me as much when he stretches out as much as he does on this release, and it may be more metal than punk, but it is still damn good. I have to wonder if they would have received more mainstream play if they were a white punk band.

This doesn't work for me. The Brian Wilson tunes are good (if not great), but the rest is disjointed and subpar. The last three songs are signs of what could have been.

This is the album that captured Johnny Cash the icon best for me. The song selection given the setting is superb.

Loverfool is enduring and it includes yet another Black Sabbath cover (Iron Man). It is very good well made 90s pop with some creative and very interesting arrangements. This holds up better for me than many other works from the period.

An awesome quiet-loud record. There are those who believe this is overrated. I vehemently disagree. The tension of noise vs. melody is palpable. One of the best releases in the 90s.

Roxy Music is on my all time top five bands and this is one of if not their best. This is their second release and last with Eno. It shows the two directions Roxy was pushing. Ferry's more conventional song structures and Eno's more experimental pitch bending. Both to great effect and hugely influential, albeit different directions.

By far the best Malian recording I have in my collection. It is a universe of one. This was highly touted when it was released and is a solid, but not great debut. The range of styles is impressive, but ultimately it is just good.

Get's points for being a best seller despite a rather bizarre concept. The music is less enduring for me.

To prog or not to prog, that is the question. I really like some prog, although much tilts towards the bombast or endless noodling. Complex isn't the same as good and merely throwing stuff against the wall isn't complex. It is not a lack of musicianship. More like a sprawling novel in need of an editor

Doesn't this have to be on the list simply for the irony of Ice-T portraying a cop that has become longest running male TV character in history. One of the first, if not the first (Schoolly D) mainstream gangsta rap releases. Gets points for presenting and both glorifying and critiquing a lifestyle nor previously represented in music. The music is unrefined and the pivot to Body Count is only hinted at, but the overall effect is authentic and powerful.

Sprawling and ambitious. I like well crafted pop music and almost encyclopedic in it scope. Is it a classic - no. Is it merely a stunt - no. It is very, very good pop music.

I remember laughing my ass off as a 14 year old ever time i played this one in 1975. While I don't laugh my ass off when I listen to this nowadays, I still smile broadly and wonder why thy were not bigger. Hard to believe the Ramones were not listening, and later, the Beastie Boys and Green Day.

This was inescapable in 1987. On some level audacious given the number of styles George Michael attempted, it essentially is a history of pop music in one album. Trivia point - this was the first album by a white artist to top Billboard's R&B album chart. 35 years later it holds up well

I think this is awesome music and should be required listening. I don't know how Mingus was able to pull off the combination of styles with a free jazz vibe, but he did. At times it sounds like a soundtrack, at times an avant-garde troupe playing live. A magnificent suite.

I find this more interesting than great. They decided to stretch out a bit. There are jazzier elements than on the prior releases. Seed (2.0) is built on a riff that could be 70s era Stones. I am a big ?uestlove's fan and his playing here is superb. If anything it shows that hip-hop can co-exist with rap, funk, soul and rock - sometimes in the same song.

The jazz elements start to appear on Steely Dan's second album. Less poppier than their debut, they rock harder on this disc that they do at any time in their career. The cryptic lyrics are present, which are better suited for Donald Fagen than David Palmer (who left after the Countdown to Ecstasy) Bodhisattva is a stunning opening track and the band is running on all cylinders. This is also the last Steely Dan band album. The Fagen/Becker studio-craft took over after this. Steely Dan would continue to morph throughput the 70s, but always maintained a very high level.

Strong effort. The music is particularly strong. Newman's lyrics are less bitter and cynical than later efforts. From the start, Newman's music was cinematic (no surprise given his background).

I think this is a great place to start if someone wants to hear the "voice". The post-army Elvis had matured and his voice is a magnificent instrument. As with all Elvis records, he needs good material. The material here is above average, but there are too many average songs.

I think this is very, very good, but not an all-time classic, an honor many critics bestowed on on it upon release. A great combination of styles - in a way that defies categorization. There are elements of funk, soul. afro-beat and R&B, all melding in an impressive manner. As a protest album it swings for the fences in terms of scope. It may be the best mainstream all in protest album since What's Going On. Nice company to keep.

Widely considered a transitional album that bridges Young Americans and the Berlin trilogy, I always viewed this as a natural evolution. Great musicians all around, although Earl Slick, Carlos Alomar and Roy Bittan are superb. Bowie shows the full range of his vocals. His cover of Wild is the Wind could be my favorite Bowie cover and perhaps favorite Bowie vocal. Bowie never embraced punk, but there are post-punk elements here before there was post-punk.

A great example of Owen’s Bakersfield sound and an essential part of music history. Country rock, as it became know in the late 60s and early 70s, likely doesn’t exist in the same way without this. It will not seem revolutionary to new listeners, and I play other examples of the Bakersfield sound much more often (Dwight Yoakam), but worthy of the list and and a listen or two.

Simply awesome. It is silly to quibble about what is the best Beatles release. From 1965 on every Beatle release is essential and of unbelievable high quality. Bands based an entire careers around one song (or portion of a song). In My Life alone is enough to make this a must have. Some deduction of points for Run For Your Life's horribly misogynistic lyrics. Still - not enough to keep the fifth star off (although I would have given 4 1/2 if an option).

This is another on the list of artists that should only be on this list once. Is it good - yes. Is it demonstrably better or different than the earlier Björk releases? Not to me.

This was mega-hyped on it's release. I was underwhelmed when I got it. I may have been a drop too harsh on my initial review. There is too much ambient music for me and the tracks go on a bit too long. Elements are interesting, but the songs don't seem to gel.

I think this is a very good release and ranks among Stephen Still's best work. I vacillate between thinking the thematic sides are a great idea and a so-so notion, but the expansive band is impressive throughout. The stylistic variety is broad and seems to be a collaborative effort.

A great 80s pop album and one of , if not Madonna's best. I always though of Madonna as a singles artist as opposed to an album artist. She tries to put together a complete album here, but misses the mark by a bit (compare it to George Michael's Faith, for example). Like a Prayer and Express Yourself are terrific 80s tunes though. The production is good, but not great. Some tracks, such as Like a Prayer are much better in their single mix.

For lovers of Chicago Blues, it doesn't get much better than this.

1972 was the year that Stevie Wonder flexed his artistic muscles and began to produce his music, his way. While sometimes left behind in the classic run of releases that started with Innervisions, Talking Book is a stone cold classic. Great tunes, great arrangements and Jeff Beck.

In time this may achieve classic status, but I am not there yet. Part of this may be my age and lack of appreciation for Beyoncé's work (I sometimes have to resort to Urban Dictionary), or perhaps the "critics" were overly effusive with their praise. A pet peeve. There are over 40 writers, producers and collaborators on the release. That may be the new normal, but for me it results in a loss of another star as I don't know who should get the credit.

I think I wrote earlier that there is bad prog and good prog. There is also great prog (a rare occurrence). This is great prog and for me five stars is not enough. It is a towering achievement and I am not sure if the blend of rock, folk, classical and free jazz has been surpassed. It sounds progressive today, fifty plus years later. Even the album cover is one of the great ones, and an entire generation heard Crimson in the Kanye sample.

There are some releases that both define an era and also transcend it. For hard rock in the 80s it was Appetite For Destruction. For all the focus on Axl, this is a tremendous guitar record and the twin attack of Slash and Izzy Stradlin holds up decades later. Not to mention that as a hockey fan, I hear songs from this release every game (only AC/DC can also make that claim). A masterpiece of the genre.

This is a new one for me. Very powerful and interesting blend of Senegalese and western music. Almost hypnotic. I will come back to this one.

A rare disc that combines sublime covers (many written by the then recently killed/murdered Sam Cook) and great originals. Otis does indeed sing soul - in a way few have done before and after. A must have. And don't get me started on his band, arguably the best ever assembled.

I like a lot of PJ Harvey. For me, her best work contains a fury that is missing here. Perhaps the production is a bit too slick. Maybe she mellowed a bit. In any event, when I reach for PJ Harvey it is rarely this one.

One of my favorite 60's folk rock songs released by a 90's indie band. Clearly derivative, but so well done it doesn't really matter to me. A sweet, warm listening experience. I don't love the production, and find the live release of these songs on If You're Feeling Sinister: Live at the Barbican a better choice.

I remember reading an article when this was released that DJ Shadow would go to record stores and move the CD album from the electronic section to the hip-hop section. I was amused. I would argue that this fits in no single section and all sections at once. There are layers and layers of samples that comprise this release, many of them forgotten bits that somehow form a cohesive mood. This is mood music of the highest caliber.

A blunt, important statement of relationships in the modern world. Not always pretty, but quite compelling. It reminds me of an R&B/hip-hop version of Liz Phair's Exile in Guyville. As a debut, it is audacious and hopefully a sign of more interesting music ahead.

This may not be peak Bruce, but is still damn good. Let's Be Friends was never a favorite and Mary's Place seemed like he was trying too hard to create a centerpiece for the Rising tour. Further On (Up the Road) sounded great in 2000 on the Reunion tour at MSG, but seems flat here. The rest vacillates between very good and exceptional. Missing is simply devastating. Not bad for 30 years in.

My favorite Icelandic band. Ok - short list. At the time of its release, writers had difficulty in categorizing the music. Not so sure why. Sounds like post-rock to me and I would argue Siouxsie and the Banshees are the closest comparable, with the idiosyncratic Bjork being the difference. I liked this quite a bit when it was released, but three decades on it doesn't work as well for me.

Perhaps this is exactly where The Police story was meant to end. Their most popular release included overt pop songs and experimental works seamlessly. There might have been no where else to go. The pop songs are loaded on side two. Points off for the subpar tracks from Andy Summers and Stewart Copeland.

A seminal post-punk album. The combination of funk and staccato guitar has been much imitated since, but rarely done as well. Even rarer are bands that play this type of music and also have a pop sensibility. A classic.

The perfect balance between loud and passionate with complex, time signatures. Sometimes I like my music loud - this is a good choice.

I tried to get into it but I couldn't. I can respect the creativity and the flow, but it doesn't get beyond that for me.

I feel badly not liking this more. I am a big fan of the original material and think some of it is the best of the metal genre. It is not that the orchestra doesn't pair well. In fact, many of the earlier Metallica releases can be described as orchestral. Nonetheless, this doesn't work for me.

There are classics that don't hold up and then there is Rumours. While clearly a product of the 70s and created under incredibly difficult circumstances, this is pop rock of the highest caliber, great songwriting songwriters, coupled with creative, yet focused production. Four hit singles, and The Chain isn't one of them (the rare song written by all five, and awesome examples of Mick Fleetwood and John McVie's prowess), and there was no room for Silver Springs.

It is hard to evaluate Femi Kuti without referencing his father, Fela Kuti. Femi's music is more dance oriented, with less jazz elements and shorter songs. To me that takes away some of the awesomeness of afro-beat, but the "mainstreaming" seems inevitable.

It's not just all about the bass, it's all about the drum and bass. It is also a great sonic landscape and if you like a an intense breakbeats with synth overlays with more conventional R&B and jazz elements, this will work for you. I can't listen to this "genre" all of the time, but when I want to, this is one of the few I reach for.

I have to be honest that Depeche Mode's transition from club band to arena (and stadium) band was something I didn't see coming. This was the release that did it for them. Maybe it was the look back to their first release and incorporating poppy and catchy elements into their moody songs. It worked then and works for me now.

I am a big fan of this release. I knew of Neneh Cherry through Rip, Rig & Panic. It took me forever to find the RR&P release back in the day. The disparate elements she integrated was nor commonplace at the time. Nor was the focus on womanhood. At a time when there were clearly drawn lines between pop and what would become hip-hop, Neneh Cherry blurred the lines in the best possible way.

This is one of the most enduring of the 80s albums that were characterized as new wave. Incorporating elements that as disparate as prog and soul into the pop mix, this is a terrific listen from start to finish. Clearly they were listening to Eno, Talking Heads and Peter Gabriel. A few stone cold classics, but solid throughout - Mother's Milk and Listen stand out from the deep cuts. In hindsight it is surprising that a song as rich as Everybody Wants to Rule the World hit number 1 on the singles chart.

It is hard to separate the music from the phenomenon that Thriller was. I tried to ignore everything extraneous to the music and the future freak show Michael Jackson became. I could quibble - Thriller gets a bit cheesy and the McCartney duet is not the best. I personally like Off The Wall better. None of that matters. This is great music. It is understandable that it is the greatest selling album of all time.

For me this is the best embodiment of the R&B quiet storm that was very popular in the 80s. A perfect late night album - it doesn't sound very 80s. There are too many classic, retro touches - R&B with a dash of jazz (especially her scat singing). She sounds older than her years (28) and more experienced (her second album) throughout. It is what every soul album in the 80s aspired to live up to. I can't think of one that came close.

I like jangle pop. Not as much as power pop, but I like it quite a bit. I blame the Beatles and Byrds for it. Robyn Hitchcock was on a roll here - writing wonderful, tight pop songs with awesome hooks that stayed in your head long after the record was over. Sometimes this music dwelled on trivial matters. Not The Soft Boys. The songs here are tightly wound and angst ridden. Icing on the cake.

I had to go back and listen to this. 20 plus years on I am astonished by how assured it is for a debut and how impressive the lyrics are. More observational than first person it provides a overview of life in a manner that should really should be taught in school. The production is great as well. While not my favorite genre, this one is a keeper.

A double disc set with one rock disc and another quiet one never really worked for me. This works better than most, but I think it typically results in somewhat uneven material. The high points are as good as anything Nick and his crew have ever done. Warren Ellis taking more of a music director role is a positive for me. I have listened to a lot of Nick Cave over the years, but find I play the live album from this tour more than this one.

It arguably all started here. What is not arguable is that this was the first rock and roll record to hit number one. In retrospect it is a bit uneven, but that is a minor quibble. Elvis is the King.

I like this a lot when it was first released and think it was in my top ten foe year. Revisiting it for this exercise, I find it wears it influences on its sleeves a bit too much. As a result the album comes off as a singles collection with some very good filler. That, in itself, is retro, evoking the 60s. The catchy hooks of the individual tunes, and harmonies push this to a four star review.

Should be footnoted - how an alt-country band transforms itself into an experimental rock and roll powerhouse. May sound easy, but few have attempted and, obviously, less have succeeded. Compared to prior releases (Uncle Tupelo and A.M.) this is heavy. But the alt-country pops up often enough to make it clear where they came from. It works.

This is essentially an autobiography of a young Kendrick Lamar. I can't begin to relate to his life, but I welcomed the opportunity to be invited in via this release. The lyrics are impressive and feel real. While the beats and production are impressive, this one is all about the words. On that front, Kendrick Lamar is brilliant.

The title track is iconic. To many, especially those of us listening radio in 1971-72, the track is an all-time classic. Vincent is not far behind. Don McLean sounds wonderful throughout and the arrangements are sparse and not dated. Unfortunately, the rest of the album is merely average folk rock.

One of the first jazz records I purchased. I was asking my piano teacher about odd time signatures (specifically Genesis Firth of Fifth) and he suggested I listen to Take Five. I never understood the strong push back from some purists to this one. It not only has the innovative time signatures. The playing is superb and the songs are creative. Pity there are not additional stars.

This is OK. I hear a lot of elements of other bands (Primal Scream, Radiohead, My Bloody Valentine), but they do not add up to anything new and compelling. The combination of EDM and rock does work, but it remains just OK.

It is hard for artists to release four outstanding albums in a row. The four releases that start with Dark Side and end with The Wall are all, indeed, outstanding. This is my least favorite of the four. It plays more like a Waters solo disc than a true band album. Also, Bob Ezrin's production, while a good match for the material, is repetitive of some of his earlier work with Lou Reed, Alice Cooper and, even, Kiss. It is, however, a true concept album and best evaluated as a whole, not a group of individual songs. It is ironic that two of Pink Floyd's most played song on classic rock radio (Another Brick in the Wall Part II and Comfortably Numb) come from The Wall. So, a flawed masterpiece, but a masterpiece nonetheless. Calls for 4 1/2 stars, but that is not a choice. Today, for reasons I can't articulate, I shall grade down instead of up.

Perhaps the disc when New Order became New Order for a full album. The previous releases showed the real time transition from Joy Division's post-punk, dark and cold esthetic to New Order's electronic dance music. There are people that fall into one camp or the other (post-punk vs. EDM). For me, it is mood dependent, as I like both. Not perfect, but very, very good.

I have always thought of Belle & Sebastian of a band not of its time. Then late 60s influence is apparent in both the lush music and introspective lyrics. It is very impressive, especially for a debut. At the time it stood out for its overt melodicism, especially compared to Britpop. Very good, but not great melodies costs it a star.

Paul Simon's debut as a solo artist is a statement that he no longer needed Art Garfunkel and a blueprint of the stylistic wanderings that he would explore over the next 40 plus years. The bar set by Bridge Over Troubled Water was high, but Paul Simon met the challenge not by writing epics, but by smaller, story based songs that worked in his varied musical styles.

They get props for being on the Mt. Rushmore of heavy metal. I am also sure that some of the bits in Spinal Tap are about them. As for the music - aside from the fact that every teenager growing up had to play Smoke On The Water, it holds up very well. Great riffs, the prominence of organ solos, powerhouse drumming and great hard rock vocals. The perfect balan ce between good tunes and extended soloing. It may be dumb rock to some, but it is great dumb rock.

This is good electronica with above average songs. It also doesn't fall prey to the am I dance music or am I ambient music dilemma. While that was a novelty 20 plus years ago, others have handled it better since. For me, this is simply average.

The Go-Betweens are high on my list of most underrated artists. To me there are two types of Go-Between discs - very good and great. This is the later. Lyrical, lush, literate pop music. There are very few bands post 1980 that were able to do this and this is one of the best. How is it possible that Streets of Your Town and Quiet Heart were not hits in the US?

Interesting that this is the day after The Go-Betweens. The Go-Betweens are on my underrated list, The Smiths are on my overrated list. Don't get me wrong. There are quite a few good songs here (There Is a Light That Never Goes Out is a classic), and I love Johnny Marr's guitars. However I find Morrissey too much at times and I tire of his delivery. This could be The Smiths best release, but I do not share the opinion that it is an all-time great. Another time we need a half-star. It is Monday morning and I am feeling generous.

I listened to this a lot when it came out (the single from the first release, Alright, was a favorite of my very young son) and I was on the bandwagon. I always thought this was an impressive jump from their debut. They integrated many styles in a way that didn't seem either forced or jarring. Lots of elements 2of classic rock (including psychedelia), but without sacrificing the punky pop elements from their debut. They eschew cleverness while being tuneful - not always an easy balance.

Wait a second - Just A Gigolo/I Ain't Got Nobody isn't a David Lee Roth original. Seriously, a crazy blend of styles that epitomizes cool. This is the the quintessential Louie Prima. The scat singing is over the top, but works great in this setting. I love the call and response. This is a non-rock record that rocks. Simply great music.

I did not immerse myself into Keith Jarrett until 78 (freshman year in college) when someone on my floor played the Sun Bear Concerts non-stop. It was (and still is) tremendously impressive to me and I was hooked. I quickly worked back and discovered The Koln Concert. Jarrett's solo piano explorations are not for everyone, but I find them utterly compelling. To call this jazz is not fair and Jarrett defies categorization. He utilizes rhythmic, almost hypnotic, motifs that shift to other related motifs in an impressionistic manner. This repetition is more akin to pop music than jazz, but the elements blend jazz, classical, gospel and folk seamlessly. I think is essential listening.

This is good quality neo-soul. Well produced and strong songs were hallmarks of Cee-Lo's sophomore effort. My issue with neo-soul is that fo me it is no match for 70s soul. Listen to Cee-Lo's Let's Stay Together and compare it Let's Stay Together by Al Green (a different song) and the point is clear.

An album that seems to spring out of a place and a time. An organic music cycle. I would consider this a continuous suite more than a series of songs. Much of it seems improvised and most of it is excellent. Cleary Van's muse took him many places over his career. Here, the focus is inward, but not in a spiritual way. It is more inner observations set to a combination of folk, jazz, rock and soul. The songs themselves always seemed to me built on simple structures that progress as a series of layers. It is haunting and meditative at the same time.

This sounded like good 80s dance-pop when it was released and it holds up as good dance pop today. This refined the Pet Shop Boys sound introduced on their debut and their detached cold manner. The wry, tongue in cheek lyrics adds appropriately to the equation. They continues to refine their dance-pop over the next decades, but all of the seeds are sown here.

The EDM conundrum. How do I consider music that is essentially written for the clubs and belongs in the clubs? Especially when I am many decades removed from clubs to begin with. I knew a lot of this work from singles that were released before the full length. But this doesn't play like a collection of disparate singles. It holds together as a cohesive statement and is one of the best EDM releases of the 90s.

From my viewpoint this is the best Pogues release. It it stylistically varied, yet cohesive. In many ways adventurous as they move way beyond the Irish folk/punk mix of their first two discs. It is hard not to fall under Shane MacGowan's irascible charm A very happy album about troubled times and bleakness. Plus, one of the greatest Christmas songs of all time.

When I was young I read an article that asserted no musician squandered God-given gifts more than Rod Stewart. These early discs and the descent to Do Ya Think I'm Sexy are, obviously what gave rise to that comment. Rod blends folk, blues and hard rock in a mix of self-penned and covers at a level few have achieved. The material was so deep that Maggie May was a B-side (Reason to Believe was the A-side until DJs had their way). A tremendous achievement and for me, the highlight of a long career.

A great hard rock album, 90s style. A side note, the advent of the CD pushed artists to fill the capacity, leading to many releases to be in the 70 plus minute range. While not quite a double album length, it is awfully close. It is awfully hard to make a great double album, but that is the burden artists in the CD era put on themselves. All that said, Superunknown is pleasantly devoid of filler. The scope is appropriately expansive. The Day I Tried to Live rocks, Like A Suicide gives us an acoustic close and Black Hole Sun is an enduring classic. The progression from Led Zeppelin and Black Sabbath wanabees to a great hard rock band is impressive.

Points off for the addition of crowd noise on some of the tracks, but offset by extra points for the awesome Crumb cover. A great example of am uneven masterpiece. The highs, Janis' exceptional instrument, Piece of My Heart and Summertime are enough in my book to justify inclusion on one of these best of lists.

This never really worked for me. To me, Muse was an amalgamation for various influences (bands - Pink Floyd, Radiohead, Jeff Buckley, styles - rock, glam, and prog) that results in more is less. They are consistent though. Like their prior releases, this is calculated space jams aimed at arena shows. On that level it succeeds. It is almost as if AI created semi prog rock music for the masses in the mew millennium.

I am not sure how to evaluate this one. As a stand alone album it is OK. However, the influence on hip-hop, and the direct use of samples, makes it incredibly influential. Not quite a novelty album, but close. Also worth pointing out that Perry Botkin, Jr., a major contributor, also wrote Nadia's Theme (really the theme from The Young and the Restless), which was huge in the 70s. The influential aspect wins me over.

An odd selection unless there are multiple Lana Del Rey selections. I believe Norman Fucking Rockwell!! is a far better release. This is a decidedly smaller album, with a somewhat Americana feel that puts a focus on her formidable singer-songwriter skills. She is all over the place here, meaning she touches upon various parts of the country in pursuing her vision. Her evolution as a songwriter is consistently impressive. In many ways she shares a similar trajectory as Taylor Swift (albeit from different starting points). And, both have Jack Antonoff in their work group, which is an enormous asset.

I have always though of this as a tribute to Philly International. As with most tributes, there is the line between homage and appropriation. People spend a lot of time discussing Bowie's shifts. The move from Diamond Dogs to what was referred to as "plastic soul" was so abrupt that many focus on the shift as opposed to the music. At times Bowie seems to be doing this himself - showing off in a way. Removed from that narrative, the music is very good. I prefer Station to Station as a whole, but the high points here are exceptional (Fascination, Fame, Young Americans).

It may be unfair to say that Robert "Mutt" Lang did for Def Leppard what he did for AC/DC. However, in both cases he took the bands standard material, pushed for a higher overall quality (and some writer credits in the process) and made it sound huge. In both cases it was enormously effective. Essential hard rock power pop (even for those like me who don't love the genre).

Although overshadowed by the next release (and the omnipresent Bitter Sweet Symphony), this showcases the elements that made The Verve a very good band. Pop hooks and layered guitars with somewhat overblown lyrics (which can be said for a lot of brit pop). This is attempt at grand rock songs (in some cases sprawling) that sometimes reach its lofty goals.

An unbelievable debut. Somewhat inconsistent, but the highs are incredibly high and hugely influential. And no song over 2:30. The influence is sometimes taken for granted as is genre blending aspect of the tunes. Hits especially hard considering Holly's tragic death.

This is a really good pop album. It was huge in England, but barely made a peep here. I was on board early only because a friend living in London alerted me what was going on. I also happened to see Robbie Williams on his first (and only) US tour in a smaller Philly venue to support this release. He was and is a formidable entertainer. No surprise that he now has a Las Vegas residency. The songs are all very good (and Angels is iconic) and the production uniformly great.

There is something poetic about Jerry Lee Lewis letting it rip in 1964 at same club where the Beatles cut their chops. This is one of the best pure rock and roll live albums ever. It is hard to believe that this did not make the rounds among punk bands in the 70s. Simply awesome.

This was retro rock when it was released. It was refreshing to hear this type of music on the radio in in 90, but if I wanted to hear this type of music, I was more likely to play the Stoned, Faces or the underrated Free. Don't get me wrong, this is kick-ass rock and roll and that is always welcome. Some songs are very good, and She Talks to Angels is a classic. While a welcome respite from a lot of dreck on the radio in 1990, this is derivative, albeit very good derivative music. I would give 3 1/2 if an option. Today, for reasons I can't articulate, I will grade down.

Not really neo-soul or retro, Michael Kiwanuka pushes the genre into places that expand and essentially create a new genre. I would call this psychedelic folk soul. While there was some psychedelic soul in the early 70s (Norman Whitfield), this album wears its psychedelic folk influences on its sleeve. While sometimes lacking in originality (owing to those pesky influences), the quality and craftmanship is very high. This made my 2019 20 best of list. I see no reason to revisit its inclusion.

Top notch Britpop. If one likes guitar driven anthemic rock, one could do worse than The Auteurs. Blur and Oasis received a lot of the press in the US, but The Auteurs delivered a solid debut. Luke Haines may or may not have "created" Britpop, although he clearly was ambivalent about the term. On his first outing, Haines witty lyricism is already apparent. The balance of cellos, chamber pop and guitars are compelling, and this is one of the better early 90s releases.

Mama's Gun gets better with age. Lumped into a group with other neo-soul releases 20 years ago, this is much more. The soul touches are still front and center. Jazz greats Roy Ayers and Roy Hargrove are side-by-side with Questlove. The tremendous challenges faced by black people (especially women) resonate throughout in a similar way to Marvin Gaye's What's Going On. The last track, Green Eyes, is a soul suite for the ages.

Little known fact. This album came out in August 1973 and 72.4% of babies born between April and August 1974 were conceived while this record was playing. The Isleys expanded from a trio to a six-person unit for this one and embraced funk. There are great covers (Summer Breeze, Sunshine, Don't Let Me Be Lonely Tonight) that transform the originals into soulful explorations. The self-penned Who's That Lady Pts 1 & 2 is a classic and, for me, has some of the best guitar work on a song that went Top Ten on the Billboard Hot 100.

I am calling foul on this one. This is a US release that is actually a compilation of Hives first two albums and assorted EP material. The music itself is fine, good, solid neo garage rock. Not particularly original, there is a genuineness that is missing from some of their contemporaries. I will go with three stars as a balance between the solid music and my distaste for companions on this list

Hippy dippy, trippy. This is OK psychedelic pop folk, but there are much better examples of this genre. Sunshine Superman and Season of the Which are classic tracks. The rest of the album meanders a tad. It must have worked well for the stoned listeners at the time, but it does not hold up well.

A debut from a twentysomething that is a concept album about a relationship. Sounds like a train wreck waiting to happen. I bought this when it was first released, and it blew me away. It still does. While there are refences to Sam Cooke, Marvin Gaye and Al Green, Maxwell's view is his own. A great listen from start to finish.

I never liked the term nu-metal. Yes, this is tough to classify, but nu-metal seems a lazy way of describing Linkin Park's music. Yes, there are elements of metal, hard rock, hip-hop, but the duality of the rapping and screaming is what gives this material a lot of the power. The interactions between Chester Bennington and Mike Shinoda are continually impressive, which is essential to the success of the album. The rage and deep emotions run throughout - in the best way imaginable. This is almost a musical therapy session. Not everything works, but it is damn impressive.

I like the Czars (Grant's prior band) quite a lot and think John Grant is very good vocalist. Midlake is his backing band (I like them as well) and they provide the requisite soundscape for Grant's baritone, although lacking the Czars' very real tension. The lyrics display a both a wry sense of humor (Sigourney Weaver is a hoot) and biting insight (Jesus Hates Faggots). Well done.

This falls under the admire more than love category. Some of that is genre related and some is age-related. I cannot relate to a lot of this in many ways. However, there is no question that Frank Ocean is a tremendous talent and for me, along with Kendrick Lamar, represent the best that I have heard of this genre. There is a boldness at work throughout his debut release, as compared with merely being boastful (a common complaint of mine). Solid throughout with no real weak tracks. I suspect that this has staying power and will be considered a classic down the road.

A classic through and through. In many ways this defined modern jazz and set the stage for the decades that followed. This is quintessential mood music and a singular achievement. It also is one of the first jazz albums I purchased (a thanks to my Uncle Marty) and has been played consistently since then.

Can swamp groove be considered a genre? There is some blues, some funk, some R&B, but swamp groove seems a better description to me. It is also music that doesn't seem it can be from anywhere other than New Orleans. If one is a fan (I am), this is where it all began. Dr. John as a persona may simply be a creation by Mac Rebennack, but it is fully formed here. Great saxophone work by Plas Johnson. Wonderful throughout.

This is impressive, even if I don’t love the genre. I did like A Tribe Called Quest and Q-Tip has consistently been a quality producer and rapper. The grooves are very strong, and flow is so good one song melds into the next. One can argue that Q-Tip is high on the list of most influential hip-hop artists. Nothing on this disc makes me think otherwise.

This is a very English album. What I mean is that Blur not only were a great brit-pop band, but their perspective is UK focused in a way that the Kinks were in the late 60s and early 70s. Nicely done lads.

Post punk? Neo-garage? Just plain good rock. The angular guitar and strong hooks work for me. It is a bit inconsistent, but the highs are pretty awesome.

I was a Replacements fan from their first release. Let It Be may be their best. The sloppiness of their early work is gone. The over production of later releases isn't present. Just the Mats playing great tunes from start to finish. I Will Dare is a perfect start. There is humor (Tommy Gets His Tonsils Out and Gary's Got a Boner). Some great covers. (Black Diamond). Even Paul Westerberg playing Androgynous on the piano works. It is an understated classic, but a classic, nonetheless.

Some albums require more than five stars. Yes, the muddy mix is not for everyone, but this is great music by a great band at the end of a magnificent run.

This - the last Neu! release is really two sides of a coin. Side A is very typical of the first few Neu! releases. Side B stretches out a bit more. Both styles work. In both cases, there is a layered, hypnotic effect that was ahead of its time and hugely influential. Perhaps this was their last true release because they had nowhere else to go.

I have been on the Paul Weller bandwagon since The Jam. Not ever road he goes down works, but when it does, like this release, he is outstanding. A mixture of folk, soul and rock, with a little psychedelic and punk attitude is a powerful combo. The songs are uniformly excellent (Sunflower and Has My Fire Really Gone Out? are standouts for me). This really calls for half stars, but I am stuck on four.

As a historical artifact it is essential in understanding where Outlaw Country came from. Also noteworthy is that this is very much a Waylon Jennings and Billy Joe Shaver project, as Shaver wrote or co-wrote all of the songs. Much of country music of this were hots driven albums with a lot of filler. Waylon Jennings did things his way and this is a true album, and every track is solid. There is a direct, nonsense sound that is eschews most of the slickness that was invading popular country music. In many ways this is a punk country record.

Rufus Wainwright is one of those artists I really want to like more than I actually do. The disparate pieces never seem to come together for me. Frequently, the arrangements are a tad over the top, coupled with a strong vision and lengthy songs. His voice, though, is wonderful, as always - even if the material and orchestration betray him at times.

A bookend to the San Quentin release. For me this one is better and is iconic Johnny Cash. The stage is set with the famous "Hello, I'm Johnny Cash", followed by the inmates going ape-shit crazy. The balance of humor and maudlin is perfect. Essential.

Start with the obvious - John Frusciante is back, a huge plus. Dave Navarro was a shitty fit and not even close to John Frusciante's extraordinary skills. Next, Anthony Kiedis is back (as he never left). For me his lyrics and vocals have always been a huge weak spot for the band. This came out a decade in to a now amazing 30 plus year run. Flea and Chad are solid as usual. The songs are consistently above average for RHCPs. The expected rock, punk/funk with a few mellow songs. This is one of the better RHCP release (Blood Sugar Sex Magic and By The Way are better in my book). I will go four, although would go 3 1/2 if possible, mostly because of Anthony Kiedis.

There is something ironic about a disc being included by a band that is frequently near the top of one-hit wonder lists. For what it's worth, they are not on my OHW list because of The Sun Always Shines on T.V., which peaked at 20 on the Hot 100 (although was a huge hit in most major European markets). Obviously Take On Me is an enduring classic. Clearly from the 80s, but less dated than many other 80s hits. This is a solid set throughout, with solid tunes in addition to the two tracks mentioned. Morten Harket's vocals are a high point (pun intended) and displays impressive tonal and stylistic range. Love Is Reason, Hunting High and Low and Train of Thought are all top-notch. While remaining popular overseas for many years, they were essentially a one and done here. There were plenty of those bands in the 80s that deserved that fate. A-ha deserved much better.

Wonderfully excessive. Is it indulgent, absolutely, but the over-the-top elements are what made it great at the time. A seven-minute drum solo. That clearly is a non-existent concept at the time. A double album with seven songs was also a stunner at the time. But putting the excess in context, this is brilliant heavy metal and one of the best rock live albums ever.

This one not for those who don't embrace melodrama in their pop music. Stretching the baroque pop of the Walker Brothers to the extreme and adding orchestrations that add an experimental Avant Garde edge, Walker breaks new ground. He writes all of the songs for the first rime, adding a more evocative element. He subverts genres - Duchess is country, but there are touches of soul and soundtrack work as well. He even names a song after a Bergman film. I have to believe that Eno and Bryan Ferry were plating this quite a lot before forming Roxy Music.

No need to go into the Bon Scott/Brian Johnson debate as this should be considered on its own. I admire AC/DC. They are who they are and never strayed too far from their formula. This is the first of their work that put it all together. Better material and cleaner production (courtesy of Mutt Lang) were responsible. They might not have been an arena band yet, but this sounded huge, as if it was only a matter of time. There is a precision to the production and good songwriting (genre adjusted) throughout. Highway to Hell is an all-time great.

It is hard to believe that this is over 30 years old. Most music sounds like it comes from a certain period (the distinctive 80s gated drum sound fr example). Not the La's. This music floats along effortlessly. I was among the cult when this was released in 1990. The cult may have grown out of cult status, but I am still on board. There She Goes is a perfect pop song, but there are many highpoints (Timeless Melody and Looking Glass are exceptional). They may have been a one and done, but it is magnificent one indeed.

Missy Elliott had years of experience as a writer and performer before releasing her debut. That maturity shows. In addition, her close working relationship with influential producer Timbaland is on full display here as well. This is an exceptional release. It was not written for me. This is a black urban album from a woman's perspective. That in and of itself would put it on my list. However, the music is creative and exceptional throughout. Timbaland's style (I call it stutter stop production, but I am sure there is a better phrase) became ubiquitous in the decade, but I am not sure the work with Miss Elliott is not the peak.

This is a fine Everly Brothers album. A few great songs, a bunch of good songs and some filler. Not sure why this one gets on the list.

Stone Cold Classic. It would still make the cut if there was nothing more to note than Like a Rolling Stone. Melding blues and country with folk in a rock context was revolutionary at the time and set the stage for the second half of the 60s. Nothing more needs to be said.

Hard to decide what is Prince's best music in the 80s. But this is a tour de force and should be on any list. Audacious scope, exemplary ability, from an artist in only his late 20s. Not as much genre hopping as seamlessly moving from one to another. Very few artists have been able to do this at this level (Stevie, Paul McCartney perhaps).

This is a very good album. I am not sure it would have made my list, but nonetheless it is very good. This is the last of the Elliott Smith home studio releases. Get past the limited production resources and there are beautiful, simple songs. The songs are dark, but in a haunting way. Post Oscar nomination gave him a major label, but not more beautiful music.

This sounded like nothing else on the radio in 1974 when I bought this album (they looked like no other band as well). Elements of glam Bowie and Roxy Music, while predating some of the theatricality of Kate Bush. I was all in hook, line and sinker. This is still one of their best. Great melodies (and lots of twists and turns along the way) and very witty lyrics. For me too many highlights to mention, although This Town Isn't Big Enough, Hasta Manana Mousier and Talent Is an Asset are standouts. Loved this in 1974, still do.

This is great 80s weirdness in all the best way. I always thought that Pixies were sort of like David Lynch movies - strange and chaotic. You either loved the work or didn't get it. I was in from day one and this is one of their best. This is what independent music was meant to embrace. Steve Albini's production, which allowed pop and noise to co-exist was enormously influential.

Deserves to be on the list simply for putting down a groove that "inspired" both Rappers Delight and Another One Bites the Dust. All that said, the ballads here are equally impressive. The Edwards/Rogers team was humming at top gear throughout and writing, playing and producing at an extraordinarily high level.

This is OK. I thought it was overrated when released and have not changed my mind in the interim. Radio friendly style over substance.

This is always referred to as The Doors blues album. I guess that is true in some respects. I have always thought it was a last-ditch attempt to salvage the band (mostly Jim) by going back to basics. The last few years were very eventful for them. We tend to forget that some of the late sixties, early seventies bands were not together very long. There are enduring classics here (Roadhouse Blues and Ship of Fools). More interesting to me are the jazz type excursions and interesting instrumentation (I do like the Fender Rhodes on occasion). It was over soon after this, but makes one contemplate the what ifs.

Calling PJ Harvey a singer songwriter somehow doesn't seem right. It pigeonholes her while being entirely accurate. But her direct, often brutally honest lyrics paired with often raw instrumentation is at the core of her work. This is wonderful and challenging music. Props to the UK fans that put her on the top of the charts. Steve Albini's production is minimalist as usual, which, while polarizing, puts an edge of the music. All of the tracks are strong, although Legs and both versions of Man-Size are tremendous.

I received this as a bar-mitzvah gift from my then (and still) best friend. I could quibble as to which early Elton John is the best (I usually vacillate between Tumbleweed and Madman), but this tour de force is in the running. The scope is unbelievable. Looking past the hits (Goodbye Yellow Brick Road, Saturday Night's Allright for Fighting and Bennie), there are amazing ballads (Harmony, Candle in the Wind), rockers (All the Young Girls Love Alice) and even prog rock (Funeral for a Friend). A great album.

Hugely influential. This was one of the first popular rap albums to not focus on life in the streets. It is a tour de force assemblage of sounds of all genres - there is soul, pop, rock, disco, country all weaved together. There will soon be others that attempt this - some successful (Paul's Boutique) and others not so much. A great work and an awesome debut.

This makes an argument for Dolly being one of the great early 70s singer-songwriters. For those of us who started with later Dolly it is revelatory. She may make more popular music later, but not better music.

One of the great debuts. The link between Ramones and new wave (which they joined). This is essentially a greatest hits disc as most of the tracks received considerable FM play (I am dating myself). Solid throughout and great production from Roy Thomas Baker.

This is a bit of a sprawl. It is also a release that shows why double albums are so tricky, and so few are truly great. This one just misses the bar. It is very good. Tonight, Tonight and 1979 are still wonderful, but there are tracks (among the 28) like Bullet With Butterfly Wings that miss the mark for me.

This is classic rock from the 90s, although it wasn't considered classic rock at the time. Along with Nevermind, these were the two albums that took grunge mainstream. While unconventional, the album rocks hard and is solid throughout. I always thought that Pearl Jam was an excellent example of a singer (Eddie Vedder) perfectly fitting the instrumentation. They sometimes reach too far on a debut, especially the lyrics, but it is awesome achievement.

So hard to separate the music from the fact that he died within days of its release. Add in that he knew he was dying, and this was likely his last album. While the album does look back a bit on Bowie's past, it is a forward-looking work that doesn't cater to any current trends. It is sonically stunning. The introduction of jazz elements seems natural. Lyrically contemplative, it is especially moving in light of the circumstances. One of the best albums of the decade.

Bowie produced it, but this one goes to Hunt and Tony Sales for providing Iggy with an unbelievable rhythm section. Lust for Life is a classic, but The Passenger has proved to be enduring as well. The best Iggy solo album.

I have always been a fan of Wu-Tang Clan and their various incarnations. While hip-hop does not have singer songwriters in the conventional sense, they do have storytellers and Ghostface Killah has always been a great one. At times he is almost literary. Consider the imagery in Shakey Dog. It reads like an outline for a movie. Good stuff all around, in a genre I am usually critical of.

The best Christmas album ever. And number 2 is not even close. Two words - Darlene Love.

Nothing to say that hasn't already been said. Pretty close to flawless.

When I bought this back in the day (being bog fans of both artists) I thought it was an experiment by two musical compatriots. While I still believe that is the case, its influence over the years has been profound. The use of sampling and tape loops were revolutionary at the time. The fact the loops still sound funky after all these years surprised me. Perhaps the use of found objects as sources of percussion is simply better than most of the garage band-esque beats we have today. The vocals, taken from disparate sources (many religous) is a technique that Bynre would revisit over the years, but not as successfully as this album.

Some great songs, but some filler and, as a result, a bit uneven. On the positive side, it both goes back to basics at the same time as it is forward looking. It also includes elements of blues, rock and even a little soul and funk, but still sounds like The Doors. Riders on the Storm is the last song on their last album and that seems both poetic and right.

21 years old. Just a guitar, his voice and a bunch of good songs (the majority of which he wrote). The influence on the rest of the 60s was massive, the influence on all future music huge as well. Even before he went electric, his music was electrifying.

I was a huge fan of My Aim is True when it was released in 1977. This album, released less than a year later, upped the ante considerably. The same great songwriting and clever word play was present, but the use of The Attractions as his backing band added an edge which was not present on the first album. The twangy guitar was largely replaced by Steve Nieve's keyboards. Add to that tracks like Pump It Up which seem to spring forth from the drum and bass playing. Elvis Costello sounds angry throughout in the best possible way. He has attempted many styles through his long career, but this album may be the best he ever made. Magnificent.

I have written once before about my love/hate relationship with prog rock, so I will try not to repeat myself. This is my favorite Yes album. Part of it has to do with my fondness and profound respect for Bill Bruford's drumming (not to mention he is the only person to be in iterations of Yes, Genesis and King Crimson) - he even wrote a 35 second instrumental song. Fragile also balances the members need to solo with solid songs (always a tenuous balance). Roundabout was even an AM radio hit back in the day. The excess is present on the edges, but the good far outweighs the bad.

This got a lot of buzz when it was first released, and I do believe it was high up on my list of best of 1993. Looking back, it deserved its slot on that list. Very good songs, lots of Americana influences and great vocals by Grant Lee Phillips helped carve out a niche at a time of grunge dominance. A lot of highlights, but Soft Wolf Tread and Dixie Drug Store stand out.

One of the best albums of the 70s. Loved it when it was released - love it more now. Marquee Moon, the song, in and of itself would justify inclusion, however, the rest of the album is extremely strong. They were even better live.

The National always struck me as "grown-up" rock for people who aren't quite grown-ups. Maybe this type of music was inevitable given the magnitude of delayed adolescence. Their songs are observational, about everyday people. Sort of like the Kinks late sixties, early seventies tunes. But these are a bit darker, both lyrically and musically. It works for them here. They are reaching for a more anthemic sound here and get very close to attaining that goal, with Vanderlyle Crybaby Geeks a notable outlier.

This is an interesting mix of influences. I hear New Order, Oasis, Echo and the Bunnymen. Even some Spiritualized and, of course, Radiohead. Moodiness abounds but doesn't drag the album down. At times they even get close to anthemic - they just stop on edge of dramatic. The songs are quite strong throughout. Some of this stew works quite well. Where We're Calling From segues into NY in a very nice way that is a highlight to me. While this would noy make my 1001 list, it is a very solid listen.

Philly girls have done quite well here. Building from Gamble and Huff roots. Sister Sledge is dominated by the production team of Nile Rodgers and Bernard Edwards, who wrote and produced the entire album. While it clearly sounds like it emanated from the Chic family, the sisters bring their exuberant vocals to the table. The hits are enduring. "We Are Family", "He's the Greatest Dancer", "Lost in Music" and "Thinking of You" all have been very influential and have been remixed and sampled over the years. Many of the remixes drive home the point that the originals (including production) were close to perfect.

I believe there are two types of Kate Bush albums - great and greater. This is one of, if not, the best. Her first self-produced release may not sound experimental now, but it certainly was at the time. It was sophisticated pop unlike anything else at the time. It married technology (largely the Fairlight digital synthesizer, which she mastered), to the sensuous pop she had developed over her earlier releases. The attention to detail is startling and helps create a soundscape that has been tremendously influential for decades to come. It was so far ahead of its time that the "rediscovery" of Running Up That Hill in 2022 isn't really surprising at all.

Soundtracks are tough. There is, of course, the question of whether they can hold up without seeing the movie. This falls in the middle for me. At times it is too obviously a soundtrack and without seeing the movie I felt lost. Other passages are wonderful and evocative of Ennio Morricone. The best portions are interesting enough to make me want to seek out other works by this very prolific composer.

Kim Deal's absence as a songwriter is noticeable. While still a member, she had formed the Breeders as a side project and channeled many songs there. Black Francis comes to the forefront and all of the elements that make Pixies distinct are present. Somewhat of a letdown after Doolittle, slightly sub-par Pixies is still better than most other bands.

This is a good example of a disc that serves as time capsule. Released in 1966 it had folkish songs, beautiful harmonies and lyrics that frequently had an underlying melancholy. But it also incorporated rock, pop and soul. The well-known singles (California Dreaming and Monday, Monday) have achieved classic status, but the rest of the album almost is at the same standard. The production is impeccable, and the studio musicians are almost all from The Wrecking Crew, which says all one needs to know.

The ultimate divorce album - Marvin Gaye's advance and part of the royalties were a central part of his divorce settlement. His views on relationships and women in general are troubling. The music, however, is 70s Marin Gaye - a style that can be called symphonic groove. Like most of the 70s work, the songs seem to flow into one another. It is deeply effective, very personal and while not his best, is pretty damn good.

This is my favorite of all Common's releases. for some reason I have always grouped Common's works with The Roots releases. Not they are linked thematically or that close musically. It is not simply ?uestlove''s production, although that may be a factor. They seem to share a certain desire to incorporate hip-hop into traditional soul element that was different from many hip-hop artists. On that level this is a huge success. In 2000, this was great hip-hop to me. This wants to be a major statement from a major artist. Common is clearly a major artist, but the songwriting is very good, but not great to my ears, and some songs could use some editing. So, a very good, but not great score.

I love Tom Waits. The 70's Tom Wait was a development of Tom Waits the persona, while his later work was more musically creative and incredibly eclectic. Both are equally compelling to me. Because this is live, we get to meet the burgeoning persona with a live audience to play off. His backing band is superb and helps to flesh out the character that inhabit his songs. Yes, the small audience were invited rather than paying customers, but that doesn't change the power of the set. Essential listening for me.

Another very good, but not great album. The collaborative approach (the Tuesday Night Music Club) is the key here. There is a looseness and eclecticism that is not present on the later releases. Some of her collaborators are tremendously talented (David Baerwald, Bill Bottrell, and especially the late Kevin Gilbert) and helped to shape the sound here. The classic rock elements that became stronger throughout her career are present here, but the freshness is what is at the forefront.

Ray Davies and The Kinks gets overshadowed in the rock opera discussions. This quintessentially British story is great from stary to finish. Ray Davies observations on everyday life are nuanced and insightful. The story, like many rock operas, is thin, but it fuels a superb song cycle. While many artists would get snarky with material like this, The Kinks are sympathetic. While there were no hit songs, Victoria, Australia and Shangri-La are stand outs.

Perfectly acceptable soundtrack to an above average movie. As standalone music it is average at best. I hear a lot of early Pink Floyd, a bit of Beatles. The late 60s, early 70s elements are there, and it is a pleasant soundscape. My bar to be on this list is higher than that.

Do you know Coldplay is one of the best-selling bands worldwide since 2000. This is a perfectly fine debut. Innocuous. I think I own it. I probably haven't played it since the year it was released. But, it is perfectly fine.

The second release from one of the pioneers of goth rock is more varied than most of the other pioneers of the goth movement. You can hear much more of the post-punk influences, along with a little dub throughout. I was a fan of Peter Murphy's singing at this point (both for the band and for me personally) - I think later material can be a bit monotonous. The rest of the band is more varied as well. The acoustic elements and keyboard flourishes are welcome, as is the sax on occasion. I don't know if this one makes my list, but a pretty impressive effort all around.

This is with a caveat. I assume Trout Mask Replica will be on the list. I would only include one Captain Beefheart release and that would be it. Safe as Milk introduced the Captain's odd, avant guard version of blues-rock. This is more "commercial" than the releases that would follow. It is very strange and explosive at times but is still mainstream. I don't play Captain Beefheart often, but this is compelling, challenging rock.

Prop for a quasi-punk record using the Latin term for sewer ray as their debut album title. Like many punk acts at the time, their energy and reach far surpassed their skill sets. All that said, they were far more accomplished than most punk acts and even attempted a suite to close out the disc - hence the quasi-punk description. The lyrics have the punk bite even when the songs do not. They would up making more accomplished albums later, but I am not sure they made better albums. Peaches has had a long life from being sampled and used in soundtracks. It is also indicative of the sexist lyrics that are omnipresent - London Lady. While they may have been acceptable at the time, but they certainly have not aged well. If you can look past that issue, the music is a good example of the punk aesthetic melding with more conventional rock influences.

Some of the lyrics are cringeworthy in 2023, but Tim Buckley's vocals are undeniably impressive. The band adds flourishes that distinguish this album from earlier ones. It all depends on which Tim you like. The singer songwriter version of his earlier works or the more experimental Tim represented here. He reaches a bit stylistically on some tracks and some don't work, but overall, this is an impressive piece of music.

Waterfalls is a monumental song. Not everything on the album can reach that peak, but the album is solid overall and as good as 90s new jack swing/R&B got. Extra points for the exceptional Prince cover.

Billy Bragg and Wilco treat "newly" found Woody Guthrie lyrics love and reverence. It served an important purpose in letting current alt-country fans where their roots lie. Not all of it works - I think Bily Bragg does a better job than Wilco. However, their hearts are so in the right place it winds up a tremendous achievement and is a great listen. It also spawned two sequels that pretty damn good.

An interesting listen, but not sure it makes my list. The acid jazz, trip hop and industrial influences raises this above many other releases from the early 90s. What distinguishes this is the downright creepy mood. He incorporates dark instrumentals in a manner that makes this sound like a soundtrack. The guests - Jarvis Cocker and Nick Cave don't hurt.

This one is awesome and belongs on the list. It is a masterpiece that provides Clapton with a perfect showcase for his tremendous talents. Clapton was not in a great space, but that inspires incredible (and incredibly personal) music. The rest of the "group" is also up to the task - especially Bobby Whitlock. There may be some filler (the issue with most double albums), but the highlights give it the five stars.

Like a stew that has some much stuff in it doesn't develop its own taste. This multicultural mix is certainly interesting to listen to - even fun, but ultimately, I am searching for a more distinct identity. Some bands, Ozomatli is one, are best heard live.

This is a good solid, albeit formulaic, hip-hop effort from 2002. It is perfectly reasonable and easy to listen to, but it is hard for me to understand how it fits on this list. Good, very good perhaps, but not exceptional.

Arguably the greatest jazz singer. Later Billie Holiday has a rawness that her earlier work did not have. A ravaged, alcohol abused voice didn't help. It works (similar to Marianne Faithfull). This is a classic that every music fan should listen to (and own - I am old school).

The first Sebadoh release recorded in a professional studio manages to maintain the lo-fi aesthetics with a higher caliber songwriting (divided among the three talented songwriters) and instrumentation. Songs are uniformly strong. Soul and Fire, Think (Let Tomorrow Bee), No Way Out and Happily Divided are standouts. I am not sure it makes my list, but well worth a listen..

Exceptional. They certainly don't make music like this anymore. And I will overlook that some of the "live music" was recreated in the studio (including fake applause). Paul Gonsalves’ epic solo during Diminuendo and Crescendo in Blue simply has to be heard to be believed.

A stone-cold classic.

When does an artist get more than one release included on this list? That is an important question. For me, Be is yet another very solid album. He doesn't really push the envelope - so to speak. Nothing groundbreaking. Simply very well constructed and produced songs (not an easy thing to do over and over again. I am not penalizing him for the consistency. I would include Like Water for Chocolate and limit Common to one slot. All that said - this is a solid four-star effort.

When I heard this in the 70s I thought it was awesome. By the 90s I thought it was a somewhat crass way of selling Indian music to the western market. Now I split the difference and think it was a fascination musical experience. The sitar playing is superb and when put on repeat I can listen to it all day long. That is saying something.

This is Fishbone's best in my opinion. I think their blend of ska and funk hit harder here than on their previous releases. In addition, the songwriting was sharper and the musicianship (notably John Norwood Fisher) better, while maintaining their personality and sense of fun, not to mention the sharp social commentary.

This is an important release in the early days of grunge. But, it is only an EP and I would not include on the list for that reason. It is solid, however.

What is there to say that has not been said. Recorded in one session, this moved me in a way few records have. I have revisited it numerous times over the years and my admiration and love for this has only grown over the years. Truly spiritual and obviously a classic.

While not the global phenomenon Thriller was, this release may be just as good. All of the elements that made Thriller so successful are on display here. Post disco, it incorporated all dance elements. In addition, there is pop (Girlfriend, It's the Falling In Love), great ballads (She's Out of My Life may be his best). The only thing missing is the rock edge that developed on Thriller and beyond. Quincy Jones' production is superb. Michael Jackson's songwriting talents would progress, but this is popular music at the highest level. Still great today.

Seriously. This is arguably the best release by the best band ever. We need more stars.

Hard to believe this is 32 years old. The impact that this made is muted by the fact that a tremendous amount of music copied portions of what is contained here. The number of genres they incorporate in the sonic palette is both refreshing and astounding (in that they were able to make it work). And, they arguably created trip-hop.

I think this is the Incredible String Band's best release. A great example of late sixties psychedelic folk. It may have sounded dated in the 80s and 90s, but so many artists have jumped on the train, this sounds refreshing now. There are great individual tracks (A Very Cellular Song), but overall, this floats along like a single work in a dream-like manner. A great listen.

Does the ska revival happen without The Specials? Maybe, maybe not. That is enough in my book for inclusion here. The fact that the music was so political only ups the ante. Strong tracks throughout, although Monkey Man, Nite Klub and A Message for You Rudy are stellar.

One of the Pet Shop Boys best albums. More pop dance than the previous discs. In addition, the lyrics are actually moving (as opposed to the seemingly witty snippets that make up the prior albums). All that said, I think of Pet Shop Boys as more of a singles band. 3.5 stars if available, but I am grading up today (points for the actually good Village People cover).

A conundrum. While this is a good release, with a few great songs (Tennessee, I Remember Me), I prefer American Water, the Silver Jews first release. I didn't expect there to be two releases from Silver Jews on this list. Notwithstanding my reservation, this is a good listen from an underappreciated group,

An awesome debut from one of my favorite bands of all time. They sounded like no one else at the time. Still do.

This was derided when released. That was harsh, although it is not the best Cure disc to start with. Assuming one Cure disc for the list, this would not be my choice (for me it would be Disintegration). However, it is a good, if not great listen. Points off for the muddy production though.

Lemmy was awesome - I even have his autobiography. But this is about the music. Not my favorite genre, but this is a great selection for fans of Motorhead. Motorhead live was powerful, and the greatest hits set hits all of the highlights. The pacing is only topped by the Ramones. Like the best live releases, this is also a time capsule for an era. I can't believe this is 40 plus years old, but, even today, peak Motorhead is very formidable.

This is a very good, but not great album. It is miraculous that Dennis Wilson was able to get this completed at all, given his drug abuse and ravaged voice. But, similar to Marianne Faithful, he uses it to his advantage, a grizzled croon that sounds beyond his years. This is honest music and remarkable under the circumstances. Thoughts of You and Friday Night were standouts for me. It is a shame this is the only solo album Dennis released.

I think Yeah Yeah Yeahs have been very solid over their career. They have also managed to not sound the same on any two discs. This is, in and of itself, worthy of note. Soft Shock and Runaway are particularly good. Does it belong on this list? I don't think so, but still a very good release.

It is hard to separate Elliot Smith's work from his tragic (and short) life. The downbeat tone is a bit too much for me. While there are some songs that are not delivered in his signature whispery vocals, there are not enough of them to balance the overall album. If I was to add an Elliot Smith release to this list (I would not), it would be XO.

A great disc that everyone should hear. Like Patti Smith, Gil Scott-Heron is a poet first and a musician second. The music is soulful and intimate. While Jackson's piano work is almost improvisational, Gil Scott-Heron's lyrics are direct and almost prophetic. The Bottle is a standout.

A necessary release to show why Nirvana was a truly great band. Nevermind was massive, but MTV Unplugged showed a subtle side of Nirvana not many knew existed. First, they played very few of the hits. Second, there were many covers - but not well-known covers. The Meat Puppets, Leadbelly and a "lesser known" David Bowie song were transcendent. The vulnerability in Kurt Cobain's voice was palpable. There are hints of the tragedy that was to come, as well as a glimpse of a great band that was going in new directions.

The French duo referred to this as opera disco. I think this is more like samples gone wild. This is not my type of music and at times it is a bit of a mishmash of styles, but it is always stylish. And, in the end, I guess that is the point.

This one gets there for the title track alone. Al Green (and Willie Mitchell) were really hitting their stride. The arrangements are exceptional throughout. The horns are perfect, never overpowering the song. Al Green's vocals manage this trick as well - sometimes a whisper sometimes earnest, but always soulful and awesome. Extra points for what may be the best Bee Gees cover ever,

Rush is on a short list for me. Each of the individuals ranks relatively high on my list of most talented musicians on their respective instruments. Neal Pert is even at or near the very top of my drummer list. Notwithstanding that, the band itself never cracked my personal top ten. This is one of their best for those who love Rush - a disc where they melded their heavy metal history with their progressive aspirations. They will shift again later in their career as they incorporate synths (Moving Pictures is a standout), making them a band that clearly deserves at least two slots on their list.

I am a fan of noise rock. I know it is not everyone's favorite genre but I have always been a fan. This is very good noise rock. For me the litmus test is whether I hear pretty melodies within the noise. This passes that test with flying colors.

This is an excellent debut. I have come to the conclusion that the early-mid 90s is a gap in my music immersion. That is largely attributable to infants and limited time, energy and hours. I enjoyed this when it was released, but it deserves much higher praise. There are elements throughout this release that pave the way for what hip-hop would become in the next decade. I am also a sucker for fat beats and this one has them in volume.

The ultimate crossover. An R&B star releasing a country album at a time of racial tensions in the south. The connection between the two genre - always there - became apparent to all. And, we are all better for it. A stone-cold classic.

The run of classics continues. There is nothing I can say that hasn't been said already. The only negative is an 11-year-old Jay had to listen to his siter play I Feel the Earth Move over and over again on the piano. Everything works. Listen to the way the backing musicians, effectively the SoCal 70s version of The Wrecking Crew, effortlessly kill it.

This could be Oasis' best. They were on a roll when their second disc was released. The highs here are tremendous - Wonderwall, Don't Look Back in Anger and Champagne Supernova are classics. The rest of the tracks are nearly as good. OK, some of the riffs pay homage to such an extent that numerous bands called their lawyers, but it doesn't lessen the impact of the songs.

To me this is a good, but not great disc. There are elements of country-rock that many bands were exploring at the time. In addition, there are rock and jazz flourishes as well that add interest to solid, but not exceptional songwriting.

Nothing to say. Aretha is the Queen of Soul and this is one of her best.

One of a number of releases that legitimately lay claim to the greatest reggae album ever. The instrumentation is superb and Winston Rodney is at his peak as a leader. This is more " Rastafarian" focused than many of the other popular reggae releases from this period, which provides a link to the overt political tone. A classic.

This is a conundrum. It comes in the middle of some classic Who releases, all of which I consider much better than this. However, Tommy is a classic because it popularized (but did not create) the rock opera - for better or for worse. Its extended life as a stage show and movie in an of itself probably secures it a slot on the list. There is some great music here, along with some that is merely good. It probably says more about the band's quality of work during the period that among The Who Sell Out, Who's Next and Quadrophenia, I place Tommy fourth.

It is tough to evaluate Elvis in objective terms. The legend looms large. But here goes - this is the best Elvis album. There may be more influential albums (his first), but Elvis in Memphis has top notch material is a broad range of styles that showcase the still magnificent voice. The great production and backing musicians is icing on the cake. His first album gives a glimpse of greatness. On this album he displays it track after track.

OK - so ZZ Top recreated themselves for thew MTV era with this album. The hits are awesome (Legs, Sharp Dressed Man, Gimme Some Lovin') and exposed MTV viewers in the early 80s with some good blues rock bathed in 80s production. But if there is going to be one ZZ Top album on the list (they never made albums without filler), I would go with an early one (like Tres Hombres).

I remembered buying this in 1980, but listening today, I would have placed the date in the 90s. This could mark the point where post-punk began to straddle industrial. That alone could justify inclusion on this list. But the songs are uniformly very good and Jaz Coleman is a force of nature. Some production is dated, but that does little to lessen the overall impact.

Whether this is proto-punk or the first punk release is beside the point. This is awesome raw, rock and roll and belongs in every collection. The facts that it is a debut (one of the best of all time) and introduces us to Iggy (a treasure) are icing on the cake.

The summer of 78. I wore out multiple copies of this album (that was a thing back then). I was 17 and travelled around the northeast going to Bruce shows (the '78 tour was the best in my opinion). This may be his best set of songs overall. All three singles flopped (Prove It All Night, Promised Land and Badlands). Yet, all three were in the set list last month when I saw him. 20,000 people sang along and knew every word. Not enough stars.

Let's get two things out of the way. This is not her debut album. Alanis may not like her prior release, but it exists. Second, I can't get over the rumor that You Oughta Know is inspired/about Joey from Full House. I have come almost full circle on this one. It was a phenomenon when released, but over the years suffered from after the fact criticism of its simplistic views and 90s production aesthetics (thank Glen Ballard). Now I see it as a damn solid release from an emerging artist. The acoustic disc on the 25th anniversary helped on this reevaluation. One nit, many of the examples of examples in Ironic are not really examples of irony.

This may be the unusual release that is great but does not make the list. To some, Bill Callahan's voice is a negative. I find his deep drawl soothing and perfectly suited to the uniformly excellent material. The instrumentation is both varied and impressive throughout. Many may find the material grave, but I find it lived in. I am not sure this is my favorite Bill Callahan disc - I think the honors go to Shepherd in a Sheepskin Vest. Nonetheless, a great listen, four-star release that likely falls off my list.

Another release that goes on my very good, but not great list. This is imminently listenable and enjoyable. When this was released, it struck me as a mishmash of styles that worked but didn't create anything more than a sum of the parts. I hear elements of Beck, Beta Band and a nod or two to Krautrock. Creative, but not groundbreaking. Four stars but wouldn't make my 1001 list.

I don't know I have mentioned this before, but my list is not limited to one release per artist. If I was self-limiting in that way, I would have an issue here. Radiohead has had an incredible streak of great releases where there is significant change from disc to disc. This is a good balance between their concise songwriting and more experimental side. Listening to it today (notably the strings) it is no surprise that Jonny Greenwood has been so successful as a film composer. All the other members of the band are firing on all cylinders as well. Nude and Reckoner are standouts for me. Few band of the last 20 years reach this high and come close.

I do like some good distortion and feedback every now and then. The earlier Hookworms releases were noise rock that showed its influences on its sleeves. Microshift adds pop and synth elements and it all works. Ironically, the synths tempers some of the harsher Krautrock elements. Boxing Day and Static Resistance are highlights.

This is another one of those solid releases that doesn't belong on the list. If Hole gets any mentions, it would be for Live Through This. There are some good tracks here - Celebrity Skin and Malibu are poppier than their earlier work without losing much power. They still bare their teeth, but they are housed in a sheen. If I could give three and a half I would. I am feeling generous and will round up.

A massive step from their debut less than a year before. There were signs on the debut, but things really begin to gel here. Better production, songs and focus results in an album that paves the way for their superstardom. Is this The Police album that goes on the list. I don't think so, but there is some very fine music and Message In A Bottle and the title track are tremendous.

14 songs - none over two minutes - now that's hardcore. Hardcore as a genre is worthy of inclusion here, but probably only one slot in my book. I would go Black Flag and Fear. Circle Jerks debut is not subtle, but it is a way above average example of a genre I don't circle (pun intended) back to often but do appreciate under the right circumstances.

This is an interesting one. Nick Drake only released three albums, all slightly different and all excellent. So, if only one Nick Drake album gets the nod, is it this one. I think it comes down to whether you like the bleak almost solo effort that is Pink Moon, or the fleshed out Bryter Layter with almost jazz folk backing (Van Morrisonesque). I am in the Bryter Layter camp tonight (especially Northern Sky).

This is as much a Trevor Horn disc as a Malcolm McLaren disc. This is a pleasant mix of disparate styles from all over the world circa 1980. In addition to a then nascent hip-hop scene, there is country and western, afro-beat, all wrapped in an 80s Trevor Horn sheen. There is a novelty aspect to it, but it somehow works. Fun, but not great. We are looking for great on this list.

This is a time capsule album. It is illustrative of jazz in the late 70s. The group is in fine form and Randy Crawford's guest vocal on Street Life is tremendous. This is a solid release with an awesome title track (which has appeared in numerous movies thereby adding to the album's legacy). The title track is almost enough to make the album essential. But almost would not make it on my list.

If I was going to limit myself to one Bowie release it would not be Hunky Dory. However, it is an awesome listen and may contain his best song (Life on Mars). Changes, Oh, You Pretty Things, Andy Warhol and Queen Bitch are right behind. He was in singer-songwriter mode, but also introduced pop and cabaret music into the equation. It all works. The various styles make it a bit of a jumble to listen to, but not to the point of distraction. His first truly great album.

Can we just give all of the proper Beatles releases five stars and call it a day? Yes, the earlier ones had some filler. No, it doesn't matter. The greatest rock band of all time is still underrated.

Great lyrical skills are already on display on his major-label debut. Also present is the irony that permeates Eminem's best work. All that said, this one is a four star and the The Marshall Mathers LP gets five stars in my book and is the one that should be on this list.

This is a good album. I am not sure the synth-pop movement needed revision (as the initial movement was both plentiful and held up fairly well for what it was). Lies is a very strong track, but I think the album overall wanders a bit.

One of the great heavy metal albums of all time. If I selected only one Sabbath release it would be Paranoid, but this is where it all started and would an easy inclusion on my list. They run out of steam a bit on side two and the lack of subtlety doesn't help, but arguably creating heavy metal as we know it is enough to make this a must have.

From Black Sabbath to Black Flag. If this is truly random that is awesome. Henry Rollins at 20 was a force of nature. The rest of the band was not far behind. Goes on my list for its influence on the genre, but the raw power of this record is incredible. I understand the genre is not for everyone - my Mom was not a fan - but the bursts of energy that come through in every song was impressive to me at 21 and is equally impressive four decades later. TV Party received some airplay but is not indicative of the rest of the songs. I would suggest What I See and Damaged (both I and II) as prime examples of Black Flag's fast and loud credo.

This is a great Kinks album and shows a shift to more poppier songs with a music hall style. Ray Davies will refine and revisit this style throughout his career. Also notable is the juxtaposition of older music styler with timely lyrics, another Kinks trait that will continue. Sunny Afternoon is a great single. While solid, this album falls short of inclusion on my list.

Not for everyone, but for fans of neo-psychedelia this is essential listening. I like this best of their three releases. More subtle than the first two, Playing With Fire glides along in the best possible way. The hushed portions of the songs enhance the overall sound. All three releases are worthy, but I would start here.

I like quite a lot of noise rock, but this one never did it for me. I am glad I listened to it when it came out, but never go back to it the same way I go back to Sonic Youth.

Let's not debate whether this is Dylan's best (it may be). It is, however, a classic and highlights what an awesome music year 1975 was.

Seriously, can we carve out a few of these as the foundation of all that has followed? Sometimes the credit for innovation goes to the one who by happenstance gets there first. Then there is Jimi.

Back-to-back classics. As a statement about and for disenchanted youth it is magnificent. The production may be questionable at times, but the energy makes up for it - and then some. And underneath all of the rage are some damn good (albeit basic) rock songs. That contributes to its enduring appeal and influence.

It is hard to believe that this is Nilsson's seventh mainstream release. As a somewhat blatant attempt to have mainstream success it works incredibly well. The three hits (Without You, Coconut and Jump Into The Fire) are so diverse that they give a good overview of his incredible skills. Add in The Moonbeam Song and you have a classic. Without You is arguably the first power ballad. Whether the credit goes to Richard Perry (producer) or a mature Nilsson, this is as good an album as Nilsson gave us and a great example of how awesome pop rock could be in 1971.

This is an attempt at a "big' album, and it largely succeeds. They clearly have a lot on their minds here and the topics are weighty without being too preachy (although occasionally clunky). The music is more mainstream than Funeral - think more Bruce than Bowie. Overall, a solid, enduring work.

Bob Marley & the Wailer's major label debut belongs on this list if only for the fact that it helped introduce reggae to the world. The songs here (especially Bob Marley's) touch upon racial injustice and poverty (themes Marley would return to often). Peter Tosh's contributions are significant as well. A classic.

Three great (and distinctive) vocalists collaborate (and harmonize) in the best possible ways. Really a masterclass on how all of these "superstar" collaborations should be done. Simply beautiful.

This goes on a long list of forgotten or long missing music that gets reevaluated years later as works of genius. Don't get me wrong, there is some great music here but Spence's demons and instability are very present as well. I think a separate category for "what ifs" would be a place to group these recordings that have moments of genius but are incomplete.

If I stick to my goal of one release per band, I am not sure this would be my Talking Heads entry. However, this is a great disc and has one foot in the version of punk they displayed on their first release and one foot into the funk, rhythmic focus that would dominate the next few releases. Tina Weymouth is tremendous throughout. As Talking Heads are in my top five of all time, I recommend all of their releases (even True Stories).

This one has held up better than I would have anticipated. At the time I thought the choice of Jim Steinman (Meat Loaf) as producer was a tad odd. Some how it works, and The Corrosion and Lucretia My Reflection are as good as it got for Sisters of Mercy. A lot depends on whether you Goth or don't Goth. I do but am not sure this would make my list.

This is a tough one. There are great tracks on this disc (Mr. Spaceman, Eight Miles High and wild Mountain Tyme, for example). However, there is a lot that is either average or filler. This doesn't make my list.

I see this frequently referred to as a masterpiece. If so, it is a flawed one. I would argue that Janis never got the chance to record a masterpiece. Clearly cut short in her prime, all we have are four flawed recordings. All that said, she deserves to be on this list and this is the best at capturing special her combination of rock, blues and country.

One of the all-time rock tragedy stories. But this is all about the music and this is magnificent. Dark, brooding, post-punk doesn't get any better than this. The heavy influence of Bowie's Berlin work (and by association, Iggy Pop) is apparent, but Joy Division amps up the sense of dread and closed in feelings to 10. It all works and the second greatest tragedy (after Ian Curtis' death) is where they would have gone after this.

There is a lot going on behind the beats on this one. I forgot how young Janey Jackson was (23) and that this is overtly message driven (compared to Control). The artistic maturity since Control is noteworthy and the production by Jimmy Jam and Terry Lewis could be their best. This album was huge and unlike many releases of the time, one spin makes it obvious why that was the case. A masterclass in popular dance, hip-hop, pop.

I had to go out and seek this one. By far it is the best work by a Yugoslavian-born Brazilian artist I have in my collection. It is also the only one. This goes under the interesting but not great category. The elements are current Brazilian music are very interesting. I also like the melding of disparate influence The biggest issue I have is that the percussive elements result in a generic dance music feel rather than something special. The rest of the music deserves more.

This one was new to me. I was entranced by this one. The fusion of afro-beat and 70s soul works, and I will have to spend more time with this release. Whether it stands the test of time remains to be seen, but it is unbelievably impressive.

Whether or not we call this heavy metal, thrash metal or just heavy music, this changed the landscape when it was released in 1991 (and I am not just referring to Mariano Rivera). The releases up to that point was a not mere metal - there were hints of punk, hard rock, prog, blues and classical. This was, however, their attempt at mainstream success abd ob that level it was wildly successful. If I was to choose one Metallica release, it would be ...And Justice For All. There are parts of Metallica that are uneven, but there is no denying the power.

On their debut album Oasis was reaching for the stars and was able to hold it together. Yes, it is derivative, but it is also filled with exceptional music. While not necessarily a reaction to grunge, its harkening back to great British rock bands was welcome. The heavy guitars and tunefulness is as great today as when this was released. Now if the brothers could only get along.

Lorde's second album is very impressive. A big step forward from her debut (at 17 no less). Sure, so credit goes to the very talented Jack Antonoff, but it the songs more than the savvy production that shine through. Mighty impressive indeed. It will be very interesting to see where goes from here.

Garage rock with depth. Not a bad combo. The White Stripes perfected their formula on this one. The sound may be sparse, but it is cranked up to 11 in the best ways. This is particularly true for Meg's drumming, while simplistic at times, put the shake in the shake, rattle and roll. And I am a big fan of putting the sweet We're Going to Be Friends smack in the middle of all of the ruckus. I will hold off the if The White Stripes get one slot is it this or Elephant for a later date.

I have always loved this album. It may have taken Mott a while to find their footing (with more than a little help from David Bowie and Mick Ronson), but they put it all together on this one. It didn't last long and after one more great album Ian Hunter went on to a long solo career (and is still making vibrant music in 2023 into his mid-80s). The combination of classic rock, glam and punk was perfect. Hunter's voice, always limited in range, wrote songs and arrangements that were aligned with such limitations, and Mick Ralphs guitar (on his last Mott outing before forming Bad Company) is tasteful and powerful.

One of the great live recordings of all time. It is a shame that this trio's time was cut short, as they were on an incredible roll as these recordings show. The interplay between three highly skilled performers is outstanding. Required listening.

This falls under the category of releases that defied current trends and were massively successful anyway. Tracy Chapman's debut falls into this group as well. Sade's debut was fully formed, a seamless listen of old soul and more recent smooth jazz., that is an all-time great slow burn. The production is exception, capturing Sade's smooth voice in the forefront of very solid instrumentation.

A Classic. Part of the incredible run that Sly & the Family Stone had in the late sixties through early seventies.

Wayne Coyne is one interesting guy. The expanded palette on this release gives The Flaming Lips a depth the earlier work did not have. Better songs help as well. All the while without losing the weird factor that made The Flaming Lips who they are. Is it a classic? When it was released, I thought it had serious potential to achieve classic status. I still do, but it is not quite there yet for me.

Talking Heads are in my top five of all time. Also high up on my list of bands that have the highest average rating over their entire output. Is this their best? I am not sure. This is the mature "funk" band version of Talking Heads. It is sometimes hard to fathom that they went from a quirky three piece art-punk band to this is five years or so, but listening to the albums in order it all makes sense. The irony is the most popular song on this disc repeats the refrain "same as it ever was". A classic and essential.

Mambo-mania. Well maybe that is an exaggeration, but it was very popular in the mid-to-late 50s. Does this go on the list? There should be a section for important and impactful releases, and the impact this had in paving the way for Latin music in the future is undeniable. I don't know if this is the one I would select, but it probably winds up on a short list for inclusion.

A prodigious debut for Nick Drake. This is minimal music at its best. Sad and beautiful at the same time. While the later releases may be better, this is an incredibly high bar.

Did jazz funk start here or with Miles Davis? Does it really matter. This brough the fusion to the mainstream (and at one time was the best-selling jazz album ever). This was not only jazz, but the emphasis on the groove seamlessly brought in elements of funk, soul, and had an indelible mark on hip-hop decades later. Essential listening.

This falls under the I can appreciate but do not like category. This was celebrated when it was released in 1999 and I attempted to get into in then. There is a four-disc Deluxe version that I can't take on, so I will go with the standard release. While the sonic landscapes created are interesting, I find the vocals grating and off-putting.

I loved R.E.M. in the early 80s. This release (their debut if you don't count Chronic Town) displays the reasons why. This was different than 99.9% of the music out there. The combination of influences, rock (Byrds), folk and most importantly punk and post-punk are on display here. There is nervous energy here that was not present in their later (more mature works). Holds up for me today.

Back in the day, this was my pick of the best album of 1977 (narrowly edging out the Sex Pistols). This Years Model may be better, but that is splitting hairs. This is a great record from start to finish and one I keep going back to in the 46 years (ouch) since its release. Extra points for naming the album after a song lyric, as opposed to a song title).

Great early electric Miles. I listened to this yesterday, after not hearing it for years and my takeaway is this could be the greatest jazz-rock jam session ever. Miles surrounded himself with amazing talent. Tony Williams (who recruited many of the other guys), Herbie Hancock, Chick Cores, Wayne Shorter, John McLaughlin, Joe Zawinul and Dave Holland are as good as it gets and Davis gets tremendous mileage from these young players.

I thought of this as the non-grunge grunge album when I bought this in the 90s and was a tad disappointed. Listening to it now, I realize that I was a tad harsh and Mudhoney's return to the garage and away from the traditional grunge was an important "moving on" statement that is powerful today. Today I am a sucker for the great farfisa sound.

Youssou N'Dour is my only previous exposure to Senegalese music. Lam Toro is different than Youssou N'Dour's work I have heard, I thought Baaba Maal's juxtaposition of traditional music with more modern rhythm is very interesting and worthy of multiple listens. Time will tell whether if gets a spot on my list.

I think this is simply OK. I find it overly produced and congested. It is as if Beck wanted to make a Nick Drake record (who wouldn't) and lost his way. Where Nick Drake nailed melancholy, Beck comes off as mannered.

I really liked the jazzy samples Gang Starr used in Mo Better Blues a lot, but for some reason I had not listened to Step In The Arena in 30 years. My bad on that one, as this is excellent hip-hop. I especially like DJ Premier's production. One star off for Guru's somewhat monotone rapping.

A stone-cold classic that has aged very well. It is amazing that this is Brian Johnson's debut with AC DC (following Bon Scott's death). Yes, some of the lyrics are cringe-worth, but the enduring power of this music is undeniable. Angus Young's riffs and solos are uniformly outstanding, and the combination of hard rock and pop created a template that bands are following to this day.

I have always found Scott Walker's solo material odd (but in a great way). I like the orchestral, theatrical pop he embraced quite a lot. It may be over the top and overly dramatic, but that is the point. Jacques Brel, who is covered here, is like Bacharach on steroids. As a period piece it is a good listen.

This falls under the not enough stars category.

I think this is a solid release. The Kenny Loggins, Michael McDonald cameos are a cute nod to the past. I would be happy to listen to it, but it does not make my list.

Neil Young's greatness during the late sixties and seventies doesn't get discussed enough. He is part of a very small group that released a voluminous amount of incredible material for a long time. Without quibbling about which Neil Young releases belong on this list, this is certainly one that would be in the conversation. This may not get as much airplay as other Neil releases from the time, but it is tremendous. Ambulance Blues is a highlight for me.

Hard to separate the man from the art these days. I remember when this was released, and I was in a "hidden" boutique in Boston (really - it was behind a dummy wall of a bodega). I got into an animated conversation with one of the salespeople about whether Yeezus was better Jay Z's Magna Carta Holy Grail. I chose Yeezus. Today I see this as an episode of Chopped where the judges are contestants. He has a basket of odd items (disparate styles) that he throws in the blender and makes something great that never would have occurred to me.

This is a great example of an album that is both of its time and timeless. The harmonies are gorgeous, and the reason this group exits in the first place. This is their best work as a trio and contains their strongest material. I have always though that Neil Young was brought into the fold because CSN were not prolific writers, while Neil was. In any case, folk rock doesn't get much better than this.