1001 Albums Summary

Back in May of 2016, I had the pleasure of seeing King Gizzard, on tour for this record, at the Bowery Ballroom in Manhattan. I had been a fan of theirs for about a year at that point and this record had only come out a few weeks prior. It was, hands down, one of the best shows I’ve ever seen and as I describe the show, I’m going to try not to sound like the type of guy who is like “you missed out on something special if you didn’t see this era of the band”, but I’m afraid it might come off like that. Apologies in advance, I still think they are a great live band, but I’ve never seen another band play with the intensity they had on this tour. They came out, started with Robot Stop and then continued through their set, song after song, with hyper-focused intensity and barely a break in between songs. The way the songs go from one right into the next on this record, they were doing that onstage, but also incorporating songs from their other albums as well. They were an unstoppable juggernaut in this era, channeling NEU! and Hawkwind’s propulsive energy into their high octane garage-psych. They were intent on bowling you over and unless you didn’t have a pulse, it knocked you right on your ass. It was, pardon the pun, like getting hit by a train. The only time they took a break for more than 30 seconds or so that night was when they paused the show in the middle of The River to stop a security guard from ejecting a fan from the show for vaping. They stopped playing, asked the guard why the guy was being tossed out, and then told him bring the fan back in. The guard acquiesced, let the fan back in and then got on stage, bowed before the band, in an effort to make peace with the band and the crowd. (Video here: https://youtu.be/3Xxkac158Bg?si=KpNKK3ERQbtZQ3mv) Like I said, no one was getting in their way that night. For the next 3 years, whenever they came to New York, I was there to see them and they did not disappoint. Their show at Central Park in 2019 during the Infest the Rats Nest tour was the peak of the hyper-focused live energy I first saw in 2016. During that time, they were absolutely the greatest live band I’ve ever seen, though I know King Gizzard fans will argue that they’ve only gotten better live since then. For me, I’ve begun to sour on them as they’ve embraced a more “jammy” sound and their albums have become, to my ears, less memorable. They are still a great live band, I’ll often watch their live streams to keep up and see what the shows are like these days, but as they’ve grown more exploratory in the live setting, I feel like they may have lost some of the intensity that drew me in a decade ago. …and that’s ok. Bands change, people’s taste change. It’s the way of the world. It’s just that for me, from 2014 - 2019 (during which they released 11 albums, I think), this band felt unstoppable, like they consistently hit the mark and couldn’t miss.

This is a record that I’ve seen talked about a lot, but never really bothered to check out because I’m not a big Reggae fan, but as I’m listening to it now (and loving it) all I can think is: How is this record not on the original list? It seems like a pretty egregious omission, if you take into account influence and the excellent music here. Kudos to the user who submitted it, an excellent choice.

How on earth did we get to the point where music that sounds like fucking Phil Collins is considered “Alternative”?

Yeah, this should probably be on the list, I remember it being massive when I was a kid in late 80’s. Need You Tonight and New Sensation were everywhere. On the other hand, is that enough to warrant inclusion on the list? When compared to other entries on the official list, it’s more than enough, especially considering some of the odd choices that were made (the Triffids record, for instance). But also, then, why not include Huey Lewis and the News’ “SPORTS” which was wildly successful and contained a ton of hits…? From my personal perspective, I’m not sure “Kick” is the most groundbreaking or influential record, and it feels very much tied to its era. All the songs are good, though, and there’s a definite variety of styles/sounds here, so I’m going to give it some points for that. I can see the arguments for including it on the list and also get why it might not have been included. I’m gonna split the difference with a 3.

Feels a bit like two different records at times and though I prefer the parts that tilt towards odd, lo-fi indie (like on “Little Things and “Simulation Swarm”) to the more traditional Americana sound, I found “Dragon…” to be engaging, unique and worth revisiting.

Pretty decent Power-Pop(ish?) collection of songs. Enjoyed it more as the record went on and there’s some pretty great musicianship on this record. Vocally, I was reminded of Elvis Costello a bunch and my PTSD from his records on the main list might have kicked in a bit and impacted my enjoyment. As a form of recompense to the user who submitted this album for letting that sully my rating, I have a song recommendation that I think you might enjoy: “Starry Eyes” by The Records (the version on the Power Pop Heroes compilation is the one to listen to).

Really appreciated the craftsmanship and production on this record. Great sounding, with a ton of layers and interesting instrumentation. The music isn’t always 100% for me, but there were enough unexpected twists and turns to keep my attention throughout. It’s a pretty wild and enjoyable record.

“Yes, I wish that we could sit upon a bed in some motel Listen to the stories it could tell” Gross.

I, too, am a fan of Bruce Springsteen.

Typically, I am a sucker for an under-appreciated/overlooked sixties psych. This fits the bill, but I’m not sure it does much that wasn’t done by others. In a way, this feels a little like it’s trying check off the requisite boxes to be a “psych” record. Backmasking/reversed instrumentation? Check Mellotron? Check Fuzz Guitars? Check Sitar? Check Overuse of Flange? Check Whimsical Band Name? Check A solid effort, one that fits in with the sound of late sixties psych, but does little to differentiate itself from the pack.

First off, awesome album cover. Argus is kind of a prog record, but also kind of not, in that it isn’t as overtly reliant on technical prowess and crazy time signatures as a Yes or ELP record might be. In fact, if you’ll excuse the odd comparison (and my forthcoming denigration of Crosby, Stills and Nash), in a way, Argus kind of feels like what a CSN record might be if they made cooler music. Sorry, CSN fans (and Wishbone Ash fans, if you take issue with my CSN comparison). Anyway, that was a really roundabout way of saying, “I like this record a lot.”

If the content of this record is any indication, Roger Waters might be the worst lay on earth.

[To be read in Werner Herzog’s voice] There’s a beauty in the repetition of Krautrock and Cluster’s take on it is no exception. At its core, repetition is the base of the song, but on top of it, layers get added in, one after another. The layers interweave with the base, fading in and out of focus, building up and breaking down…they breathe life into the base and it becomes something more: a sort of pulsating, self-sustaining, auditory organism. That same repetition is found in our day to day lives, our routines: We get up, go to work, have lunch, finish the workday, go home and have dinner, relax and then go to sleep to do it again. Despite that repetition, every day is not the same. Each day, there are different layers, no matter how minuscule they seem, that weave in and out, moving our days forward and changing their trajectory in various ways. This is the music of life

I have a little bit of familiarity with Swedish rock that incorporates Swedish folk music, from listening to Dungen (and maybe to a lesser extent, Träd, Gräs och Stenar) By comparison, Garmarna seems a bit like the inverse to those to acts, in that they incorporate rock (and other styles) into music that is more traditionally folk. It was nice to kind of see the other side of that coin, if you will. I liked this record and a few of the more brooding songs, like “Nio år”, reminded me of the music in the German television show Dark, which I love. Always glad to listen to more non-English music. A nice inclusion on the user list.

A *glaring* omission from the original list. I remember buying this when it came out in 2004 and thinking after the first listen that it was a classic record. You could tell it was something special and my mind hasn’t changed on it in the 21 years since. Madlib and DOOM were already in a class of their own. Together, Madvillian is unstoppable. One of the greatest hip hop albums of all time, easy.

Radical in almost every sense of the word.

This thing’s got more ratcheted drum beats than an Einstürzende Neubauten record. Damn, I’m funny.

Anti-melodic and oddly structured at times, especially at the start. Feels a bit like a jigsaw puzzle whose pieces were forced together without concern for whether they actually could be connected, but if you were to to the take the time to rearrange the pieces, there’s a cohesive image that could be formed. That said, it gets better and starts to make more sense as it goes on.

Lacks the bombast and maybe some of the overt hookiness of Bandwagonesque, but makes up for it with more consistent and fleshed out songwriting.

Reminded me of going to punk shows in the 90’s, I remember of few of these songs from those days. A nostalgic 3.

Sounds like it should’ve been released maybe 7 or 8 years earlier than it was…like it was already a little behind the curve when it was released. Going to add an additional star for the review here that, I’m pretty sure, coined the phrase “The Panteraverse”. Without this record being added to this list, that phrase might not have entered the lexicon and I wouldn’t be here thinking about the things that make up the Panteraverse and how it’s kind of fitting that “Ride My Rocket”, the first track on Metal Magic (Pantera’s first album), actually kind of makes a great creation point/big bang event for the start of the Panteraverse.

I don’t remember their album on the main list being as Peter Gabriel-ish.

Music to refuse to clean your room by.

I liked parts of this way more than I thought I would. It’s a very pretty record in a lot of places. The parts I didn’t like, well, I disliked those exactly as much as I thought I would. If you love the first King Crimson record, there’s a lot to like here. It’s a little too ornate for my tastes at times and a bit too poppy, but not a bad record by any means.

I’m probably the worst person to make a judgement on a record like this. The MC5’s “High Time” has been in constant rotation for me over the last two weeks and, in general, I don’t really understand the appeal of a lot of popular culture, but I enjoyed the breadth of variety on Lemonade and I recognized the one song from all the Kamala Harris rallies last year. This was good for a listen, but I’m not the right person to tell you if it’s great or important or whatever.

First things first, this man (I’m assuming it was Richard Edwards) wrote a song called “Hello Vagina”. As someone who has a (probably) unhealthy obsession with songs with terrible/bizarre/borderline gross or inappropriate titles, this album is, in fact, one I need to hear before I die. That song will go on the playlist next to Stephen Stills’ “Can’t Get No Booty”, without a doubt. Next, I find it interesting that there are (kind of) two versions of this album and that the one chosen here is the one that their record label preferred. It’s interesting because this record definitely feels like a record that a major record label would throw their weight behind. There are quite a few genre touchpoints to late 2000’s alternative/indie here: Radiohead-esque electronic experimentation and vocals, Americana, garage/surf rock, Beach Boys harmonies and chamber pop…they really ran the gamut to try and capture that era’s indie zeitgeist. Maybe at some point, I’ll check out the other disc to see which is better. Or maybe it was all just a ploy by a major label to drum up sales/help the band keep their “indie cred”. Either way, this was a pretty good album, even if it wasn’t the most original thing I’ve ever heard.

I like his brother, Frankenstein, better.

Liked this quite a bit - instrumentally, a little more melodic than a lot of post punk, with jangly guitars that reminded of The Feelies “Crazy Ryhthms” or some of the Flying Nun bands like The Chills, The Verlaines and The Clean. Will definitely revisit this one.

By the time emo started taking off nationally, I was an adult - but I had familiarity with a lot of emo from hanging out in the punk/hardcore scene in New Jersey, which was one of the epicenters of emo in the 90’s, with bands like Lifetime, Saves the Day, Midtown, Thursday and countless others. It was never really a scene I was super interested in, but I definitely ended up seeing (and enjoying) more than a few emo bands in those days. When this record came out I was in college and I had a friend who liked these guys. In fact, when “Sweetness” came on, I nearly fell out of my chair. This was a song that we’d play on our college radio show when this record came out, but I haven’t thought about it in almost 25 years. Crazy how that happens. Like, I 100% forgot about that song and 3 seconds in, it was like those years hadn’t passed by at all. [two hours later] …actually, now that I’m really thinking about it, my familiarity with the song couldn’t have been from my college radio days: When this album was released I was just out of college and I must be conflating it with something from their prior album, Clarity, as my friend would have definitely played something from that album based off of the timing. So, I’m not sure what synapse was triggered by hearing that song - I know my younger brother was a fan of these guys and his band might have covered it and maybe that’s where I know it from? I also saw them on the warped tour in the summer of 2001, so maybe there? I don’t think it’s from radio play, because I didn’t really listen to much mainstream radio back then and my response to it was more impactful than “Hey, I remember this song from the radio”. It was more nostalgia based, like I’ve got positive memories associated with this song, but I can’t put my finger on what they are. Weird. Getting old sucks, kids. Anyway, Thanks to the user who suggested this record - the opening vocals of that song hit hard and really sent me back to some place and time that isn’t exactly clear to me, but still had a strong impact…Great song.

Always liked this record a lot, but never realized there were so many different versions/tracklists. There are definitely additional songs here compared to the vinyl copy I have - just titled Rocky Erickson and the Aliens. Nice to hear some additional tracks on this one, because it’s a fucking awesome record.

Since I’m in my mid-40’s and reside in the United States, I’ve been thinking a lot lately about how the world I knew growing up has changed completely and a new world, that seems to be kind of awful, has taken its place. So sentimentally, i can relate to this album, particularly when Robert Smith sings that his “world has grown old”. Not only has it grown old, but for me, that old world seems farther away with every passing day. From an aesthetic standpoint, I’m not sure I like the mixing of this record - everything sounds very compressed and thin, brittle and trebly, lacking depth. It’s better on my AirPods in Dolby Atmos than it was in my car, but even still, it feels very harsh, cold and unforgiving. Perhaps that is an intentional stylistic metaphor, considering the album is titled “Songs of a Lost World”.

The coolest thing Bob Seger ever did was contribute percussion to the MC5’s “Skunk (Sonically Speaking)” from their 1971 album, High Time. The second coolest thing Bob Seger ever did was give permission for ALF to dance around to “Old Time Rock and Roll” in the third episode of season one, “Looking for Lucky”. I would say this album probably ranks as the seventh or eighth coolest thing Bob Seger ever did.

Wasn’t much of a fan of this in the 90’s, when friends of mine would play this record, and, over the last 32 years, that hasn’t changed. It always kind of sounded like church music to me in a way.

One of the most disappointing concerts I’ve ever seen was Modest Mouse on the Unlimited Sunshine Tour in 2002. Unlimited Sunshine was a tour that Cake put together for the summer of 2002 with The Flaming Lips, De La Soul, Modest Mouse and a band from Mexico called Kinky. When we arrived at the Mann Music center in Philadelphia, Modest Mouse had just began playing and my girlfriend and I made our way to our seats to catch the show. They were playing pretty sloppy, but I didn’t put much stock in it as we walked to our seats, because they weren’t exactly known for having Steely Dan-like precision: Sloppy playing was part of the charm. Once we sat down, and had a chance to focus on the stage, you could tell it wasn’t going well. They were pretty clearly intoxicated, to the point of stumbling around and falling on stage. They played maybe one or two songs before he swore at the audience and they walked off stage early. I’d say we heard/saw them play maybe three songs before they called it quits. I’d see them again 8 years later at the Pitchfork Music Fest. They had massive success in the intervening years and this was shortly after Johnny Marr had left the band. Their performance that night was the polar opposite of the one I caught in 2002. The band was tight, but extremely sedate, lacking almost any enthusiasm or energy. It was pretty damn boring, if I’m being honest. I’m sure there’s a happy medium to be found with their concerts where they’re energetic and lively, but not falling-down-fucked-up. I don’t think I’d buy a ticket on the hope that the third time will be the charm, however. Built to Spill is more my cup of tea when it comes to that sort of Pacific North West indie, but I enjoy Modest Mouse’s earlier records, even if the concerts I’ve seen of theirs have been memorable for the wrong reasons.

Only really knew The Posies as the band that made up part of Big Star in the 90’s and 00’s and I guess that this album sort of intersects with that timeline. Never gave them a real listen until today, which was probably a mistake. This is an album that is right up my alley. Fuzzy power pop with restrained guitar noise a la Neil Young? Yes, please. It sounds a bit of-its-time in parts, but if you paired it with Teenage Fanclub’s “Bandwagonesque” and Sloan’s “Twice Removed”, you have a pretty great afternoon of power pop to listen to.

Instantly put-off by the album cover. I hate it so much. They call this sophisti-pop, but from a lyrical perspective, it seems intellectually stunted. “Imagine a mirror bigger than the room it was placed in” Ok - it’s a huge mirror that has decimated the walls of the room it was placed in. In its reflection, you not only see yourself, but you see the collapsed and crumbled ruins of the walls that used to make up a room - which no longer exists because a gigantic mirror was placed on it. Additionally, the mirror is now jutting out into the hallway and causing a tripping hazard. You’re gonna have to call facilities and get the hallway cordoned off so no one gets accidentally injured and sues the company you work for - which could cause you to lose your job in a time of unprecedented economic uncertainty. Now what? Oh, you want me to “imagine a rod that cannot hold a fish?” Fucking why? It’s pointless. This is some thought experiment for burnouts where, at the end, you’re going to tell me, “yeah, but, like, imagine if it did exist, maaaaan,” isn’t it? Sorry to the user who submitted this, I realize I’m being an asshole here and I shouldn’t get all snotty about not liking a record. I try to keep it in check, but my genetic make up is faulty.

Boy, 1001 albums generator users really love their prog, huh? So, I’ve tried over the years to get Steven Wilson/Porcupine Tree and kind of always leave his records feeling a little unimpressed. Don’t get me wrong, they sound great and he is talented. It’s just that the music, a lot of the time, feels a little generic, or maybe too referential towards his influences. It’s almost a paradox: is it actually *progressive* rock, if the music is clearly indebted to and playing off of works in the genre that have come before it? I’m not saying this is a Genesis rip off or something like that - it’s not - just that you can definitely hear the influences of “classic prog” in his work and I’m not sure that musically enough is going on to make the music unique or challenging. I will say, I liked some of his mixes of the classic Yes albums, though.

Hey, that’s me on the cover. I died after being exposed to all the pollen in that field. Just kidding, I survived, but I’m still paying off the medical bills. America, am I right? Anyway. I quite liked some of the music on this record, there’s a sort minimalist/ambient streak to some of it that really works for me. I’m not a huge fan of the songs that have traditional vocals / lean closer to pop music, as they start to veer into a kind of cheesy territory.

Frenetic insanity. I made it to the end, but I was hanging on by a thread. That said, I wish this was on the main list, just so I could see the general user base’s reaction.

I saw Tool 3 times on the tour for this record. First time was at Madison Square Garden a month after the September 11 attacks. Holy fuck, was that a weird time/place to go see a concert. There was still a real uneasy and uncertain vibe in the city at that point, with a high police/military/security presence in and outside of MSG that night. I know I wasn’t the only person thinking “is it a great idea to be in a huge crowd at a New York City cultural landmark a month after they flew planes into the World Trade Center?” In retrospect, it was probably a really safe time to go to a concert in the city at that point, with everyone on high alert, but at the time, who knew - everyone was freaked out still. Speaking of, remember how they had a color coded Terror Alert system back then so they could tell you exactly how scared you should be at any given time? Boy, those were the good old days, huh? I saw them again a few weeks later on Halloween at the Nassau Coliseum on Long Island. It was fine, exact same show, just on Halloween and in Long Island, which was a pain in the ass to get to from New Jersey. Third time was at Radio City Music Hall the following year, August ‘02. Apparently, this show is considered legendary - at least by the Tool subreddit. I remember them covering the Ramones and that it was a really great show, but outside of the fact that they were playing Radio City, I’m not sure what makes it “legendary”. Don’t get me wrong, it was the best show I saw them put on and they had a really awesome stage setup for the occasion, but I guess the locational backdrop matters, too, and I didn’t really give that consideration its deserved weight before. So yeah, apparently I’ve seen a legendary Tool concert and I’m just finding out about today. All of this to say that I know this record really well. I think there’s a pretty good case to be made for it as their best album and it is definitely the last time they put out an album that was a clear progressional step forward from the album that preceded it. 10,000 Days and Fear Innoculum, for the most part, feel like extensions of the ideas on this record and, to me, are not as vital, inspired or interesting as this record or Ænima. It is a really long record, though - something that both 10,000 Days and Fear Innoculum also suffer from. They do a lot with 79 minutes here, but also, by the end of the record, it might start to feel like you’ve heard it all before. Then, it just kind of peters out, rather than making a statement to close out the proceedings.

I grew up, in the early 90’s, within a 30 minute drive of New Hope, Pennsylvania and had no idea Ween existed until I went to college 300 miles away in Upstate NY in the late 90’s. I remember being told that they were from New Hope by my friend who introduced them to me and just couldn’t get over that I had never heard a thing about them. It’s crazy how something incredibly cool might be happening in your proverbial backyard and you have no idea about it. In a way, Ween changed my life - at least when it comes to appreciating music. I was pretty die hard metalhead and hardcore fan before Ween came along. Ween was a band that probably shouldn’t have made sense to me then, but it did and I’m pretty sure that listening to Pure Guava on acid - specifically, “The Stallion Part 3” - permanently rewired my brain. I could feel that song vibrating throughout my entire body, as though I was experiencing a new, previously inaccessible dimension of music. I would end up chasing down music that could replicate that sensation, or that would tickle my brain in a similar sort of way. Metal didn’t cut it anymore - in fact, I began to find it limiting and boring. 26 years later, I’m not as much of a fan of Ween as I was then, but I am happy to have Chocolate and Cheese recommended today. I think it is probably the correct choice for a Ween record, since it runs the stylistic gamut in a way that some of their other records don’t. Personally, I would choose “The Mollusk”, but I’m happy it’s not “quebec” - which I think is kind of overrated by Ween’s fanbase. Chocolate and Cheese is a no-brainer, 5 star record for me. It’s great from start to finish, nearly every song is a Ween classic and it was the start of a run of records that are Ween’s best - Chocolate & Cheese, 12 Golden Country Greats and The Mollusk. Plus, it has my absolute favorite Ween song on it, “What Deaner Was Talking About”. I’d also recommend checking out the version from the Live In Toronto record, which is a really beautiful rendition.

Off the bat, this has got a couple strikes against it for me: Justin Vernon, Ani DiFranco (because of an ex-girlfriend, not a reflection on Ani DiFranco’s talent) and it’s a musical. The Hayden sisters are a plus. Overall, a well done record, but one I don’t see myself returning to.

Huh…I didn’t realize Reddit started a Cake cover band.

Pretty weird and rocking German psych. To make a solely Krautrock based comparison, it’s a bit like if Florian Fricke (Popol Vuh) wrote a concept album, but gave it to Guru Guru to perform. Overall, an enjoyable psych record.

Great band name, great album title. I know Steve Malkmus from Pavement is a fan of The Groundhogs and listening to this record, I can definitely hear their influence on his music - particularly on his albums with The Jicks, like Real Emotional Trash or Pig Lib. Overall this is a pretty fucking rad album with a unique, proggy blues vibe and some white hot guitar solos. An easy 4 on first listen, gonna give it a few more listens to see if it should be upped up to a 5.

Going to have to agree with the general consensus that this record should have been included on the list in lieu of / in addition to Little Earthquakes. To my ear, which is not super familiar with Tori Amos’ catalog, the songs, music and production here gel in a way that wasn’t as present on Little Earthquakes. Or, at least, it worked better for me here than there.

Sorry, this is a little too nerdy for me.

[inner dialogue: “Would it be cliche of me to say that Boards of Canada’s music is like the soundtrack to a vintage educational film from an alternate reality?” Yes, that’s probably the most unoriginal thing you could say about their music at this point. You probably stole that from a pitchfork review or something. “Ok, how about if I talk about how there’s an argument to be made that Geogaddi is as good of an album as Music Has the Right to Children, and in certain aspects it’s even better?” Also not the most original thing you could say about this record - there’s gotta be thousands of threads about that on Reddit alone. “Hmm…in that case, I’ll probably do a straight forward review and, after a paragraph or two, start talking about Tomorrow’s Harvest because I’ve got a short span of attention and that’s my favorite Boards of Canada record.” Yeah…uh, you already did that in your review of Music Has the Right To Children. “…Fuck”]

Appreciate their stylistic adventurousness. Had this been a straight “metal” record, I don’t think it would’ve kept my interest for its 75 minute runtime. It ends up being kind of an indie/metal hybrid, which was good, but somehow it feels like it didn’t offer up too many surprises.

Since it’s a holiday weekend and I got some time to kill, I figured I’d break out my copy of this album and listen on vinyl today. I remember buying this in 2014 when it was issued on vinyl. Within a minute or two of getting home from the record store, I accidentally dropped the record on the hardwood floor and it landed spine up, causing a decent-size (about two inches) seam split on the top of the jacket. I hadn’t even opened the record yet - what a putz. Luckily, only the jacket was damaged and not the records, so it’s really only a cosmetic annoyance. Alive 2007 is more or less a greatest hits record, but remixed and mashed with high intensity. There are a couple stylistic choices that are maybe a little underwhelming - like foregoing the instrumental section of “Face To Face” in favor of mixing it with “Harder, Better, Faster Stronger” - but that’s a small complaint and one that is rooted solely in my opinion that the sample work in “Face To Face” might be the greatest thing Daft Punk ever did (more on that when Discovery gets recommended). In fact, thinking about it, the intricacy of the sampling on that song might be why they didn’t attempt recreate it live. That, or the sample clearances/payouts that would ensue. Either way, it is a really impressive cut and paste job on that one. That said, when the mixes really click, which is the majority of the record - but specifically on “Around the World/Harder, Better, Faster, Stronger” or “One More Time/Aerodynamic” - I don’t think you could ask for a better live performance. That they were able to capture the energy of their performance and transfer that to record in a vibrant and tangible way makes it an even more impressive feat. Personally, I’d rank this among the greatest live albums of all time, even if some may think an EDM record would be an unlikely choice for that type of list.

I knew these guys were from NJ, but I didn’t realize that the singer was originally in Catch 22 in their early days/Keasbey Nights era. Catch 22 was sort of a local band for me back in those days and I saw them a couple times back then at local venues/vfw halls, though that may have been after he left the band, which actually might make this kind of a pointless anecdote. Anyway, as you can tell by the fact that I’m just finding out that about the Catch 22 connection, I was never very invested in the ska scene, but the scene in NJ at that time was cross-pollinated with punk, hardcore and ska - so you might see a show where there were punk, ska and hardcore bands sharing a bill and it usually worked out pretty well. I was more attuned to the punk/hardcore side of things, but it was a fun scene to be a part of. In a lot of ways, it still informs me as person today. This is a nostalgic 3 for me - not necessarily my thing, but it was well done and reminded me of some fun times.

I appreciate this submission. You’re wild for submitting it - people here are going to hate it - but I appreciate it. I’m more of a fan of the drone-y, metaphysical psych of Super Æ or Vision Creation Newsun-era Boredoms, but I’m also a firm believer that people should listen to music that is outside of their comfort zone from time to time and pretty much any record by Boredoms is going to be about as far out as you can get.

First things first, I love that this was put out by Shake It Records. They’re a great record store in Cincinnati, and I bought the last two 7” singles I needed to complete complete my Yo La Tengo collection on vinyl there several years ago when I was in town on business, and I had no idea that they also were a record label at one point. Second, Funeral Dress checks a lot of boxes on my list of things that make a great indie rock record…it’s got a DIY feel, it’s a little ramshackle, it’s got personality and individuality, none of the songs feel like retreads of the others and it doesn’t over stay its welcome. This was a great submission.

Not a huge fan of this guy’s voice/vocal affectations, he’s a pretty good, technical guitar player, though. This first track sounds *a lot* like Marvin Gaye’s “Sexual Healing” - to the point of “Marvin Gaye should probably get a writing credit on this one”. When this record gets soulful or funky, it’s in a very safe, Steely Dan-ish way, so ultimately, it ends up feeling kind of sterile and not very engaging. They’re kind of like fruit from the same adult-contemporary tree, if you will. I disliked that in the cover of “Bold as Love”, he inserted a major chord change into the chorus, which took a great (and underrated) song and made it feel hokey. His soloing on the song also feels a little too busy and lacking the visceral emotion and energy of Hendrix’s original. I feel like this record probably could’ve/should’ve been included in the main list, but its lack of inclusion won’t sway my rating here.

Arguably their last “great” record - For me, The Wall is a bloated, self-important and nihilistic mess of an album and even if Animals is preview of where Roger Waters’ bleak and cynical worldview would take the band, it succeeds because the band is still (mostly) working as a cohesive unit. On “Dogs” in particular, Animals falls into a similar trap as the first “Shine On You Crazy Diamond” from Wish You Were Here, where the tempo is so languid that its 17 minutes feel like they just drag on and on, even if the pay-off at the end makes the glacial pace worth the trip. By comparison to “Dogs”, “Pigs (Three Different Ones)” and “Sheep” feel concise, energetic and to the point, which is kind of a funny thing to say about songs that both clock in at over 10 minutes. It may seem like I am shitting on “Dogs” a lot, I do like the song, but you can feel every minute of its 17 minute run time. Finally, the two versions of Pigs on the Wing pretty much only serve as intros and outros to the album, but offer a somewhat more positive outlook than the venomous, cynical worldview that is sandwiched in between. On the whole, Animals, along with Meddle, is one of my preferred Pink Floyd records, though I suspect that it’s due in no small part to the fact they are less overplayed in the mainstream.

Sorry, I just can’t take his voice and there are so many layers of it. It is really distracting to me. I can see the argument for this being on the list, but I find his music really off putting because of the vocals, whether they are densely layered like on this record or treated with vocoder or auto-tune like on his later records. Musically, I think it is fine - the instrumentation is not really outside of the norm for late 2000’s indie, and as a result, the vocals feel like the sole focus. This just isn’t for me.

Excruciating quirk-core

Australia seems hellbent on saving rock music and I love them for it.

Wait is the version on Apple Music ripped from vinyl? You hear the needle drop at the start of “Boots or Hearts” and if it’s a sample/sound effect, it’s really well done. That’s all I got, really…the music is fine. This sort of heartland rock isn’t really for me, but it had some very enjoyable moments.

As a life-long New Jerseyan, I’m happy to see the number of albums that have been added to the user list by artists from New Jersey. This is third or fourth I’ve had and that’s not including the Springsteen live record that was added. On Rose Mountain, and in general, Screaming Females embody a nice cross-section of the DIY/underground music scenes in New Jersey - punk, hardcore, indie, maybe even a little metal at times - and meld them together seamlessly, while adding their own distinct style. I don’t know if I can describe it in any other way except for saying that they capture an ethos that is familiar and “like home” to me - and that might only make sense to a certain type of person from New Jersey…I don’t know. The band’s playing is really tight and even when they stretch out with an extended instrumental or solo passage, the songs don’t lose any steam. Finally, Marissa fucking rips. The guitars on this record are electrifying and enthralling. An A+ addition to the user list.

Took a bit for it to hit its stride, about midway through for me, but once it did, Phantom turned out to be a good rock record. Particularly liked Escape Is At Hand for the Travellin’ Man.

I’m sorry, but the inspiration for this album title has me cracking up. This record, which is ethereal, dreamy, often quite beautiful and is generally regarded as one of the all-time-classics of its genre… …is named after a prank phone call dick joke. I’m dyin’ over here, Jerky.

This one’s got a lot going for it in my book: DIY/Lo-fi spirit, songs with sparse, but captivating instrumentation. Lyrically, it’s humorous and poignant in the right ways. My biggest gripe about the main list was how much American indie rock from the mid 90’s and early 2000’s was overlooked. I think if you’re telling the story of that era of American indie rock, The Mountain Goats are an excellent inclusion. Hail Satan.

A good mix of glam, psych and a bunch of other genres, but…it’s a bit much, if I’m being honest.

Whether intentionally or not (I suspect it’s intentional), many of the additions to the user list underscore just how poorly the main list covers indie and alternative music from the mid 90’s and early part of this century. I don’t know enough Low to say whether this is the best choice for the list, but “Things We Lost in the Fire” was such an excellent record I’m going to I’m going to dive in and explore it further. This is a great record for an early fall evening near a campfire: with its slow tempo, it creates a haunting, meditative atmosphere to get lost in.

It’s gotta be a generational thing. I’ve tried and I just do not get the appeal of this band. Like, if I’m in the mood for space age lounge music, I’m picking up a Stereolab record and, musically, I don’t think anything on this record comes close to competing with them. It may be due in part to Alex Turner’s vocal style. His songs are always very busy vocally and the music doesn’t feel like it has a chance to breathe. That works when you’re aping Gang Of Four on your debut, not as much here. The music here seems to just be a bed to lay his voice on top of and not much more - a complaint I also had about his Last Shadow Puppets record.

One of the things I appreciate about Donald Glover is the depth and attention to detail he brings to his work. Whether it’s here, as a musician, or on Atlanta, as the creator and also an actor, he strikes me as being meticulous in pursuing his vision - which makes the things he creates worth revisiting over and over. I’m giving this a four, with the very distinct possibility that I change my rating to a 5 after a few more listens.

I was pretty sure I saw Descendents on the warped tour in the late 90’s or early 2000’s, but now that I’m thinking about it, it was ALL, the band they formed when Milo went to graduate school. Correct me if my Descendents history is incorrect, thanks. Anyway, Milo Goes to College is a classic California punk record, highly influential on pop punk and, at 22 minutes, it’s succinct and to the point. If you were to compile a less Anglocentric version of the main list, this should be a no-brainer for inclusion.

I’ve been listening to a lot of ambient music lately. I’m finding that it works as an effective salve to treat the soul crushing and unrelenting barrage of bullshit that constitutes life in America in 2025. It’s a warm and enveloping escape from reality - an audio narcotic, if you will. I enjoyed this EP quite a bit. It washed over and temporarily quieted my racing mind on yet another Monday that’s come too soon.

I can’t decide if he sounds like Beck or if Beck sounds like him.

Not gonna lie, this is beginning to feel like 1001 Prog Albums to Hear Before You Die. That said, I didn’t dislike this record. Solid instrumentation and good songwriting, even if it feels a little one-note tonally. Reminded me a little of the music The Dream Syndicate has put out in recent years following their reformation.

I’m telling ya, Australia is going to single-handedly save rock and roll.

Yeah, yeah…It’s an all time classic, should have been on the list instead of Homework, et cetera, et cetera, ad nauseam…it’s fucking great. …but what we really need to talk about is the sampling that’s going on in Face to Face, which was a collaboration between Todd Edwards and Daft Punk. (As a New Jersey resident, I am contractually obligated to mention that Todd Edwards is from Bloomfield, New Jersey) There are nearly 30 samples going on to make that song: They’re chopped and sliced - literal slivers of songs - pitched, bent and tweaked to make something completely new and incredible. If you have anyone in your life who doesn’t think sampling is a legitimate art form, or if you yourself feel that way, listen to Face To Face, then watch this video which recreates each sample, shows how they were modified and how they all fit together: https://youtu.be/fd7zDp35zBI?si=Fb6ZGFu5oLpPb4Md That song is a masterclass.

When Texas gets weird, they get fucking *weird*, man. (See also: Butthole Surfers, 13th Floor Elevators, Tripping Daisy/Polyphonic Spree) This was an ethereal and noisy post-rock record. It dragged on a bit, as post-rock records often do, and at 90 minutes, it was a lot to take in, but was interesting enough. The concept of the record - that Texas is the Promise Land following the second coming of Christ - kind of makes this record feel like it could have been found audio that survived the raid of the Branch Davidian Compound in Waco…if, you know…David Koresh was really in to My Bloody Valentine.

My phone keeps auto-correcting “Procol Harum” to Provolone Harum.

If Weezer hadn’t reunited after this album, I’m pretty sure they’d be fondly remembered as one of the greatest bands of all time.

Started really strong, to the point that I was questioning whether I’ve been too hard on Brooklyn indie for the last 15 or 20 years. By the midway point, it started feeling less individualistic, and more like another piece of the 2000’s Brooklyn indie puzzle. Not that it’s a bad record, but it definitely carries some of the hallmarks of that scene - funky world music, electronics, sing-along vocals and Beach Boys harmonies… Guess what I’m saying is: a little bit of Brooklyn goes a long way for me

I was so sure that “That’s the Way of the World” was going to be my last album on the original list. When I got towards the end of the list, I did all the math, compiled a list of remaining albums and the day before I finished, I was 99% sure that it was going to be the last one generated. Imagine my surprise when it was actually the Mamas and the Papas. You see, “That’s the Way of the World” left such a small impact on me that I forgot I listened to it in the first 100 records. I didn’t even write a review for it. In one ear and out the other, I suppose. So when I saw the reviews here saying that this is the album that should’ve been on the list, I was cautiously optimistic. Well, my cautious optimism soured pretty quickly, sorry to say. Not because it’s disco(ish), but because it’s slick and glossy - which is a hallmark of disco, I suppose - but there’s more to it than just that…it comes across as tepid. Maybe I’ve been influenced by George Clinton’s assessment of the band on the Funkadelic track “Let’s Take it to the Stage”: “Earth, Hot Air and No Fire”. Maybe that’s unfair, but outside of one track, “Let Your Feelings Show”, the heat just wasn’t there for me. I get that they’re different bands; that Earth, Wind and Fire was probably catering to a more mainstream audience than Clinton and that might account for the less aggressive attitude in their brand of Funk. …and don’t get me started on “Rock That!”, which feels like it might possibly be an answer song to “Who Says a Funk Band Can’t Play Rock” from Funkadelic’s 1978 LP, One Nation Under A Groove? Am I just inventing beef between these two bands at this point? I think I might be. I guess my point is, this record didn’t really move me in the way I would hope a funk record would.

What in the Don Henley is this?

I’ve been thinking that it wouldn’t be too hard to correct the main list’s glaring blindspot(s) when it comes to American alternative and indie from the 90’s: drop the 4 Morrissey solo records, cut back on some of the multiple submissions from The Verve and Blur and the like and there’s plenty of room to better tell the story of American indie in the 90’s. I really don’t think it would take too much. Luckily, the user base here has been pretty spot-on with their choices from this era and Keep It Like a Secret is no exception. Built To Spill dials up the bombastic guitar heroics another notch here, even if its predecessor “Perfect From Now On” was not lacking in that department in the slightest. Where “Perfect…” might have felt insular and close, Keep it Like a Secret sounds huge and wide open. Just 40 seconds into the record, when the chiming guitars and wordless “ahhh” vocal harmony hits, it’s like the sound of a new world unfurling itself for you, a veritable playground for the guitar wizardry of Doug Martsch. His lead guitar is languid and melodically beautiful, but not without the ability to turn on a dime and melt face…and there are layers and layers of it, with plenty of twists and turns, to enjoy here. 5 easy stars.

Another fine addition to the 1001 Indie-Folk Albums You Must Hear Before You Die list.

On the surface, this should be an easy 5 for me: Noisy, drone-y, disaffected 90’s alternative/indie rock… …and musically, I really like it. I’m not really sold on the vocals, is the thing. I mean, I love pavement, I love sonic youth, dinosaur jr….you don’t have to have a great voice, or even be interested in what you are singing for me to love your record, so it’s not that, not at all. I think those bands might have more of a knack for melody, no matter how unconventional, that works for me in a way that I’m not sure is working for me with Hum. On my second listen, it’s not as much of a noticeable issue, so maybe I just need to become attuned their idiosyncrasies. Rating this a 4, as a placeholder for a potential 5, if I can come to terms with the vocals. Edit: I don’t know what I was thinking…this is a *great* record. 5 stars.

I guess that here, under the umbrella of anonymity that the 1001 Albums Generator community provides, would be as good a place as any to admit that in my 44 years on this planet, I’ve never seen The Rock Horror Picture Show. …at least not in full. I’ve definitely seen portions of it, but I’ve never had the theatre experience or sat down with friends to watch the entire movie. So I know a few of these songs - how can anyone not know “Time Warp” - but mostly through passing or reference from people who know the film. Listening to the soundtrack is kind of odd, then, since I don’t have the full frame of reference for it to really make sense. So in that sense, it was exactly what I was expecting: an over-the-top, campy glam musical. It was enjoyable, I like some glam and some camp, but I think that having some experience with the film is required to push this into “must hear” territory.

Have you ever heard that song by Sloan, “Coax Me”? In it, there’s a line that goes, “It’s not the band I hate, it’s their fans”. I would say that sums up my feelings about Phish, except…I really don’t like the band either. Don’t get me wrong, there were moments here, however fleeting, where I thought to myself, “this isn’t so bad”, but those moments were pretty quickly dashed away by Phish’s tendency to cluster-wank. I get it, these guys are good at their instruments. The Ramones weren’t, but their songs are a lot more fun. …and the thing is, I know Trey Anastasio listens to good music. Over the years, he’s been vocal about bands that he loves, like Pavement, Ween or King Gizzard and the Lizard Wizard. Phish has covered full albums by The Velvet Underground or Talking Heads…For whatever reason, he’s not able to take his love of good music and infuse into his own music, but it is what is. On the topic of Ween and King Gizzard and the Lizard Wizard, here’s where I get to the “it’s the fans” part of the equation: I’m old enough (and cool enough, thank you) to have been a fan of both of these bands before they experienced an influx of phish fans, who would eventually take over their fanbases. Both bands had relatively chill indie or alt fanbases and then, Trey Anastasio opens his yap (or, in the case of Ween, covers one of their songs) and every Phish head on earth starts turning up to tell you how Ween and King Gizzard are actually jam bands. They start setting up a lot scene at shows to sell their bootleg merch that offers about as much creativity as those “Hey Lois, remember that time…” moments from Family Guy and soon all the other trappings of phish fandom follow. They will try and remake every band that Trey turns them onto into a replica of Phish’s scene. They’re like the fucking Borg, if the Borg’s highest ambition for assimilation was getting a spot on the rail and flipping posters so that they could travel from show to show. All I’m saying is you don’t have turn everything else into the one thing you love, phish fans. On a more humorous note, my favorite part of this record was on the second track, “Stash”, where the audience tries to clap twice in time with the song (at the :32 second mark - you don’t have to listen very far into it). The band breaks for the clap and everyone in the audience claps at slightly different intervals and it sounds more like someone crumpling a paper bag than a bunch of people clapping in unison - lmfao. The same people who will tell you that these four dudes are the greatest musicians on their respective instruments are the same people who struggle to clap on beat - just some food for thought. Look, this is a really long and negative review, and I’m sorry to the person who submitted this for implying that all phish fans share the same traits, but I’ve had my fair share of encounters with phans over the years and have been forced to listen to enough of Phish’s music by friends and acquaintances that I’ve got very little patience for it. In closing, if you’re like me and can’t stand this band, maybe you should check out the “Whose Got My Goo Balls?” episode of Harris Wittels’ “Analyze Phish” podcast, where he tried to convince Tom Scharpling to like Phish and failed almost immediately… It’s one hour shorter than this record.

This list is really hammering home how poorly the main list handled alternative music in 90’s by being so UK-centric. I’m not really 100% that this is an album you need to hear before you die, but it’s pretty damn good and works really well as a counterpoint to the main list - like, the main list has The Auteurs’ record from 1993, but not this one?

FUKKNO

I wish I enjoyed Rolling Stones records as much as I enjoy the mid-90’s BJM records - which are pretty clearly and heavily indebted to the Stones, but, imo, end up being much more than mere facsimiles of the Rolling Stones. Take It From the Man is a great garage/psych record. I also would recommend “Their Satanic Majesties Second Request” (also from 1996), if this one piqued your interest.

I keep picturing Orson Welles singing these songs.

2 Stars, but only because the bassist is called “Moose”. Actually, as it goes on, this record ain’t so bad - 3 stars. It’s pretty fucking long, though, and there’s a song that contains a lyric that proudly proclaims “this is the 1980’s”, so maybe back to 2 stars.

My phone’s keyboard has been acting up all day, glitching out and typing multiple letters even though I only press a key once…something is messed up with it, but it’s working ok now, so I’m going to try and be quick and to the point with this review: “Whipped Cream & Other Delights” - or, as I know it, “Perennial Occupant of the Dollar Bin at Every Record Store I’ve Ever Been To” - was a massive success for Herb Alpert & The Tijuana Brass and a deviation from their previous records, which focused primarily on Mexican themed mmmmmmmmmmmmmmmuuuussssssiii— AARGH - Th is ddamn phone….Son of a fu— [”Spanish Flea” by Herb Alpert & the Tijuana Brass starts playing] TECHNICAL DIFFICULTIES PLEASE STAND BY

My first thought about this record is that it seems odd to call this a Kenny Wayne Shepard record when he’s not the vocalist or star performer on these songs. So when I went to allmusic.com to read their review, and they concurred, I cracked up a little. Here’s the opening sentence of their review: “10 Days Out may well be Kenny Wayne Shepherd's most important and intriguing album, even though the guitarist is hardly the featured artist on any of these tracks, working instead more as a sideman and facilitator for the impressive cast of venerable blues players who get a chance to shine here.” A bit of a back-handed compliment, no? The most important and intriguing record of Kenny Wayne Shepard’s career is one where he is not the focus? Ouch. I get their point, though. This record is more of an attempt to record and preserve the history of the blues and of the players featured on it, rather than a spotlight for Kenny Wayne Shepard. Fair enough. In that regard, it succeeds. The songs and performances are all fantastic. If you are into the Blues, I suspect this could be an important record - I don’t know for sure, though: I’m not really in tune with the intricacies of that musical scene and, maybe more importantly, Kenny Wayne Shepard’s status within it. So yeah, it was enjoyable for a blues outsider such as myself, but with in the realm of “must-hear” blues records, I’m not the person to give it a thumbs up or thumbs down. I did enjoy the version of “The Thrill is Gone” included here - it was nice to hear a different take on the song than I’m used to. The band was cooking on that one, damn.

When I was in high school, in the back half of the 90’s, the band I was in played at the school’s music showcase, where students with bands could perform for the entire school on the football field. It was like an afternoon long high school band festival that the school threw with two stages, but it wasn’t really a battle of the bands. Everyone got 3 songs/15 minutes to play and that was that, which was cool with us, since we had hardly played anywhere before this. Anyway, we made the decision to open our 3 song set with “Blind” from this album. I don’t recall what other songs we were going to play, probably an original and another cover… …because we never got the chance. We got about 90 seconds into “Blind” (after the “Are You Ready?!” part) and the students who were watching us started a mosh pit and the school pulled power to the stage without any warning. Those square school administrators couldn’t handle the power of our rock. Well, that and they probably didn’t want a lawsuit if someone got hurt in a mosh pit… …but, mostly they couldn’t handle the power of us rocking the fuck out. Yep, that’s it, 100%. Anyway, I’m giving this a 2 because I do think this should have been on the list instead of Follow the Leader, but I also think the music kind of sucks, sorry. What can I say? People change over the course of 30 years.

That’s it, I’m putting the albums I recorded during lockdown up on bandcamp.

Funky and enjoyable, with a Tortoise/Stereolab-ish kind of vibe at times, but definitely its own thing.

I don’t know, this modern iteration of post-punk really doesn’t do much for me. Appreciate it and there were definitely a few highlights here, but I haven’t really found a band that really does it for me - I’m not sure that a lot of it is offering up something new…I might just throw on a Jesus Lizard record instead, you know what I mean?

This was a lot better than I expected, if I’m being honest. You see Black Metal and you think it’s going to be one thing, but this was a lot more expansive and interesting than I anticipated, even if it felt like it kind of repeated a few of the same motifs and tricks as the record went on. In a way, this album feels like the work of a band that kind of doesn’t want to be a metal band anymore, but is still trying to shed its vestigial metal limbs. I don’t know if that is the case, since I have zero familiarity with any of their other work, but as an example, the growling metal vocals felt out of place and (to me) unnecessary in a more mellow track like “In the Shadow of Our Pale Companion”. This very much feels like a post-rock album in a lot of ways. Instrumentally, the music leans more towards the cinematic, with repetitive, sort of psychedelic guitar leads rather than grinding metal dirges. In fact, some of the more droning distorted guitar parts felt a little reminiscent of Sonic Youth at times, which is a comparison I’m sure Black Metal fans might hate. Vocally, the growl, not just here but in metal in general, is kind of a turn off, but not enough for me to abandon listening to this record. 3 stars: maybe I’ll revisit, maybe I won’t.

Not a huge fan of this record. Feels very indebted to Paul Simon’s 80’s work, which I’ve never been a fan of. Not to say that there isn’t talent here, that they don’t have their own identity, or they aren’t bringing anything new to the table, but stylistically it doesn’t do much for me.

I’m really confused by all the comparisons to Pearl Jam I’m seeing here, but I pretty much stopped listening to Pearl Jam after Vitalogy, so maybe I have a different understanding of their catalog than others. Not sure if that’s a “me problem” or if others just don’t have the same frame reference for a record like this. It really doesn’t sound like Pearl Jam to me - like, at all - but it also doesn’t sound like The Promise Ring, either, which is what I kind of figured Pedro The Lion sounded like, because, well…Jade Tree records. Musically, this is definitely more indie than emo, I think, even if lyrically, it’s right in that vein. Kind of a Low vibe, if I’m being honest, but not quite as interesting to me. Or maybe kind of like a Robert Pollard solo album, but without the hooks. I don’t know…it was good, but not great. 3 stars, right down the middle.

Oh shit, I just remembered that I’m out of Bartles and Jaymes.

I absolutely love M83’s 2003 record, “Dead Cities, Red Seas & Lost Ghosts” - like, to the point that I considered it for my submission on the user list. It was kind of a long-shot candidate, but it was a contender nonetheless. On that record, M83 strike a very interesting balance to me. Their marriage of droning, arpeggiated synths and swirling, distorted guitars might not have been the most world-changing idea, but it hits a unique sweet-spot for me. It’s a bit like if you gave Sonic Youth some synths and sequencers and told them to go to town and record an album. It’s a beautiful, intense and occasionally sinister record and I don’t think very many (if any) other bands have made a record that sounds like it. It’s really such a great record, I love it and highly recommend it. The follow up, “Before the Dawn Heals Us” does expand upon that sound (“Don’t Save Us From the Flames”, “*”, “Teen Angst”, “Car Chase Terror!”), but also introduces a pretty unabashed love for 80’s synth-pop into the M83 fold. While I enjoyed some of that record, I could tell M83 was moving in a direction that wasn’t necessarily for me. It happens. So, I kind of lost track and didn’t really keep up with their releases. I mean, I knew that this record and “Saturdays = Youth” were critical successes and topped a lot of year-end lists, but I never bothered listening, because what I was reading about them kind of reinforced how I felt about the band - that the things I loved about “Dead Cities…” weren’t really integral to their music anymore. So, listening to this record today, I’m having a bit of culture shock, even though I could kind of see it coming. This feels like a completely different band…because it is, but also because it sounds like a band that is chasing something (a more contemporary/pop-oriented sound or more mainstream audience), rather than a band that is creating their own path. There was a song on this record (“New Map”), where I thought to myself, “What is this, a Broken Social Scene record?”…and I love Broken Social Scene, but it feels like a weird fit for what I know M83 to be. So now I feel like I should revisit the records between “Dead Cities…” and this one, to find out how they got here. I’m not saying this is a bad record. Not at all. It does retain the cinematic grandeur that was a part of the reason I loved M83 in the first place. It’s just…I wasn’t expecting this. I know bands change, but in a way, it feels like the band I love is barely present here. I mean, usually bands kind of retain a seed of who they were as they age and maybe the loss of Nicolas Fromageau from the band was much more impactful than I suspected years ago. I don’t know, this record has me thrown for a loop.

I enjoyed this record, but it’s a little too on-the-nose with its nods to its influences at times. The Parliament-Funkadelic influence is strong, there’s an interpolation of “Strawberry Letter #23”, the track “Baby Boy” kind of feels lot Sly and the Family Stone’s “Just like a Baby” from There’s a Riot Goin’ On… It’s well done homage, no doubt about it and the talent is fully evident. …but if you know the references, I suspect it might not hit the same way as it does for those who don’t.

Better than I expected based off the cover. Sort of gauzy throwback synth pop/chillwave with a bit of a Prince influence at times. Kind of wore out it’s welcome for me after about 6 or 7 songs.

I don’t think the original list did too bad with early hip-hop, but this is a glaring omission, I think. A landmark record for hip-hop and highly influential; seems like it should have been a no brainer for inclusion.

Oh good, another double album out of the jam band scene. Excuse me for a moment while I do the hippy shake… [dances arthymically, then twirls around with arms out and face towards the sun, with no awareness or care for his surroundings] This dude is super talented, but most of the music isn’t really for me and his fanbase, I’ve found in my interactions on the subreddit for a popular Australian psych band, is kind of insufferable sometimes. I can’t deny the talent, though, and there was enough variety to keep things sort of interesting - even if the experimental/atmospheric/psych excursions fall flat for me and a couple of these songs kind of sound like “The Devil Went Down to Georgia” rewrites. I was going to give this 3 stars, but then I heard “MORBUD4ME”. Oof.

Do you think Joe Jackson intentionally put a pair of shoes on the cover of this record in order to differentiate himself from disgraced baseball player “Shoeless” Joe Jackson from the 1919 Chicago White Sox? (The hundred and twenty year olds and baseball historians in the audience will appreciate that joke)

While I was listening to this on my ride home from work tonight, I thought, “You know, this kind of sounds like music Yo La Tengo might cover”. Well, when I got home and had a chance to do a little research, it turns it’s exactly the type of music Yo La Tengo would cover - they covered Michael Hurley’s song “Polynesia” on their 2018 LP, “There’s a Riot Going On”. Not only that, but I saw them cover that song at one of their Hanukkah shows in 2018. They were joined on stage for the performance by Peter Stampfel of the Holy Modal Rounders. Suffice to say, I enjoyed this record. It’s a fun folk record that doesn’t take it self too seriously, with excellent instrumentation and a bit of a psychedelic side to it. Also, I am obligated to point out that Michael Hurley, like so many of the great artists on this user list, is from New Jersey and that is just another point in the “Michael Hurley is cool” column.

I have the feeling I’m going to listen to every Daft Punk album except for Human After All because of these two lists.

A bit like listening to The Clean through two tin cans connected by a piece of string.

You can’t fool me with high-concept sci-fi and distorted guitars…I know pop music when I hear it.

…and here I thought I would be able to get through both of these lists without having to listen to “Shiny Happy People”.

I’m actually kind of surprised this wasn’t on the original list.

Like listening to the Twin Peaks Soundtrack on quaaludes.