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.

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.

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.

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.

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.

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.