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.

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.