Photograph isn't a half bad pop song. The rest is almost a self-parody with all the stupid cliches. Plus, if you're mentioning the words "rock and roll" in half your songs you're just pandering too hard. And my god that guy's voice. I will say, Mutt Lange did a stellar job producing this trash. And the band doesn't have a terrible sense of melody. If they actually had something to say and a singer who didn't sound like a Spinal Tap reject, this might've been a 2 or even a 3. I just noticed that there are TWO Def Leppard albums on here. TWO. There's no Heart, Ween, MF DOOM, Glen Campbell, Les Paul, Deftones, Laurie Anderson, Weezer, Shawn Colvin, Of Montreal, Joe Jackson, King's X, Hank Williams, Neutral Milk Hotel, or Uncle Tupelo, but there are TWO goddamn Def Leppard albums on here? You know what? Bring it on, motherfuckers. Y'all are just making me stronger.

i don't think i could hate this music more. How the hell is this on any list of albums you need to hear? Now i feel bad about giving Hail to the Thief 1 star, because that alsbum is light years better than this trash. Also, this is clearly the worst album cover of all time.

I went into this with an open mind. I'm not a Dead fan, but they seem like cool guys, so I saw this as a chance to fully engage with their live music, and I hoped that I would finally appreciate this band that is beloved by so many. That did not happen. This is actively bad music. Everyone raves about their jamming, but they are a terrible jam band. First of all, no one is playing anything remotely interesting, there were clams all over the place—especially by the bassist, and worse still, none of these guys are listening to what anyone else is doing, so it's like everyone is playing a different song. (And not in a good way, like Ornette Coleman or Ascension-era John Coltrane.) What's more, there's no fire or passion. This is the limpest, blandest, hackey-sackiest music I've ever heard. The fact that these tracks were not taken from one concert, but were instead hand-selected from a few different shows blows my mind. Like seriously? These were the best takes? Good lord. Please, people. Do not listen to this music. If you want that jam-band spacey vibe, there are so many better live albums out there that will slake that thirst: Happy Trails by Quicksilver Messenger Service, At Fillmore East by The Allman Brothers, or Live at the Fillmore East (March 7, 1970) - It's About That Time by Miles Davis. Those are great albums. This one is just not good.

I keep trying to like Wu-Tang because I feel that someone who digs hip hop should like them. And I kind of do, but not for a whole album. At the end of the day, though, I like my hip-hop with hooks. Must be the pop guy in me. Also, for all the talk about what a genius producer RZA is, I often feel like his records lack depth. And on this album there were several tracks where I couldn't clearly hear the rappers. i didn't hate this. and at least this one mostly avoids all the long chattery intros that plague so much of Wu-Tang albums from this era. If one of these songs came on in a mix, I'd be excited to hear it. But a whole album just wears me down.

Cool. A 45-minute summation of why the 80s sucked. Good sound, misogynistic lyrics. Sharp-Dressed Man’s OK. Give Me All Your Lovin could have been a Huey Lewis song. I give this album one star and five lines of coke. P.S. ZZ Top's origin story is worth looking up. https://ultimateclassicrock.com/fake-zombies-zz-top/

The first three songs are still thrilling. “Quiet” sounds like it could have been a Sabbath tune. I also dig “Soma.” The rest kind of bored me now, like so much of 90s alt-rock. Although his guitar tone is killer

Yeah, I dig this one. I never liked Rod's voice as a kid/young adult, but a few years ago it clicked and I went on a Rod/Faces tear. That group from 1970-2 were pretty great. I haven't listened to this album in a while. My impression going in was that it was a 5 star album, but this time through, while I still liked it, it didn't feel quite as essential. Most of these songs are amazing. A few are just OK. Maggie May is still incredible and the last two songs are perfect.

I know people love The Pogues. I am not one of them. I've tried. My low ranking is just a personal opinion based on my taste and not about the quality of the music.

This doesn't really speak to me, though it's fun to drive to and these guys sure can play their asses off. I can dig one or two Metallica songs. A whole album's a bit much, though I did dig Leper Messiah, so that was a cool new find. Sadie digs Metallica, though she said Kill 'Em All and Ride the Lightning were better.

I went into this blind, not knowing anything about the band, only having seen the name. I was surprised that I knew the first two tracks, though I'm not sure how. I'm not all that knowledgeable about electronic music, but I really dug this album, start to finish. Very organic, bubbly sounds. Nice melodies. Sounds like a sunrise, which has nothing to do with the album cover art. Good music to work to. 3.5 stars, but let's bump it up to 4.

I went into this only knowing the hits. I've never been a Michael Jackson fan, per se, though my kids went through an MJ period a few years ago and I came to appreciate a few of his hits. (Though Off the Wall has long been a fave.) Anyway, I was not prepared to dislike this album as much as I did. The title track is ridiculously fun. The Way You Make Me Feel is fine, I guess. The rest of it was terrible, I thought. Would be a 1-star review, but I'm giving it an extra because it's really fun to sing along to the song "Bad."

Huh. I knew nothing about this band. I've heard of Julian Cope and maybe heard a song or two by him, but had no idea he was in this band until today. I dug this, though by the end I was getting a bit tired of it. Cool lyrics and melodies and good drumming. This was a cool find and I'll def look more into other songs by them and Cope.

I couldn't even get through this album. This is where Radiohead lost me. So whiny and depressing.

i don't think i could hate this music more. How the hell is this on any list of albums you need to hear? Now i feel bad about giving Hail to the Thief 1 star, because that alsbum is light years better than this trash. Also, this is clearly the worst album cover of all time.

Fuck yeah. All-time great album. I listened to this all through college but haven't listened to it much since. It's amazing how many of the lyrics I still remember. There's not a ton of punk that resonates with me, but Pink Flag still totally does.

I enjoyed listening to this more than I expected to. It was probably the first time I listened to the whole thing, though I've certainly heard many of these songs before. I mean, it is what it is and it's kind of fun and over the top and if any of these songs ever come on the radio or a shuffle I won't necessarily turn it off. It's also not really my jam, but it was fun to hear for nostalgic reasons, I guess. Good production and the dude can certainly sing. hard to know how to rate it, so i'll go right down the middle

Right on. This is why this is a fun project. Best find so far. I mean, what's not to like? Old-school country, produced perfectly. (I just read that she convinced Owen Bradley, who produced Patsy Cline, to come out retirement.) Lang has an amazing voice. Also that opening track is pure bliss. Why did it take me so long to listen to this?

It's been years since I've listened to this and I kind of expected to not like it as much as I did in college when I listened to it all the time. But it's still great. The only two songs I've never loved are "Brand New Cadillac" and "Jimmy Jazz," (songs 2 and 3). The rest are amazing. Punk filtered through half-a-dozen different sub genres. One of the best double-albums ever.

Damn, we've been on a roll lately! The release date on this album is deceptive. These tunes were recorded in '49 and '50 in three different sessions, and these recordings were considered pretty odd at the time. It's not quite big band, not quite small combo, not quite bebop, not quite cool. It's something else entirely. ("Something else entirely" pretty much describes all of Miles's landmark recordings.) I dig this stuff, but it's definitely not my favorite of Miles's albums. For one thing, it doesn't showcase any of the individual musicians here particularly well. I mean, it's got Max Roach, one of the great drummers of all time, on 2/3 of these tunes, but you'd never know it. (For that, you'd need to check out any of the recordings he did with Clifford Brown and Sonny Rollins.) If you're not particularly knowledgeable about jazz, I don't know that this album is an especially good introduction to the genre. (Then again, there are so many different kinds of jazz, it's hard to know what would be, except maybe Miles's own "Kind of Blue.") Having said all of that, this is quality music and several of these went on to become jazz standards, so it's a good album to listen to if you become a fan of the genre. It also became massively influential with many of these guys becoming giants of the Cool Jazz movement. This is music that rewards intense listening but also works great in the background. 4.5/5

I admit I went into this album with a bad attitude. There are so many great artists and albums not represented on this list of 1001 albums, why waste a slot on this, which was created out to essentially spite his ex-wife? And after the first two songs I was still pretty bitter about it. And don't get me wrong, I love Marvin Gaye. He might be my favorite singer. But I was not feeling it on those first two songs. Even his singing felt off. But I don't know, by the time the third song came on, the music got interesting and I opened my mind up. Some of these tracks are just plain weird and maybe even bad. But some of them are actually kind of cool. And the musicianship is excellent throughout, as you'd expect from Motown. I don't know how quickly I'll be putting this back on, but it was better than I initially gave it credit for. And maybe if I listen to it more I'll give it a better ranking, but this morning I'm feeling a 2

I never really cottoned to The Smiths, and I know just enough about Moz's current political views that I had to hold myself back from groaning as I queued this up. But once again I was surprised. I dug this record, pure and simple. Great production, some killer guitar work, catchy melodies, and the dude knows how to write lyrics. At the risk of being canceled for liking this, I will definitely dive into more of his solo work.

This is another band I didn't care for when they were active. I've come to appreciate them more than like them, though they certainly have great songs that get stuck in my head for days. I admire how sneakily avant-garde they are, taking catchy melodies and dance beats and throwing all sorts of crazy sounds and discordant chords under it. Anyway, this was the first time I listened to an entire album by them, and I dug it. My one complaint was some of the songs tended to overstay their welcome, but I dug the darkness of this album. "Personal Jesus" is still just OK in my book, but the rest of it was all in all pretty great. I'm gonna give it a 3 even though I can see this one growing on me. But at the end of the day, there's something about their sound and their lead singer that will never fully connect with me. But I'm glad I heard it and Sweetest Perfection as a great new find for me.

I feel like me giving this a rating is kind of silly. I don't know from salsa. The music on this album certainly sounds good and clearly the musicians are excellent and the arrangements are fun, and I dig it, but it doesn't grab me the way jazz does and I'm not sure why. Anyway, I'm glad I heard it. I can see throwing it on for a party. But I don't feel like I need to do a deep-dive into the careers of either Blades or Colon. As for my rating, I'm giving it a 3 just because I don't know what else to give it. It's probably a 5-star salsa album, but it's a 3-star listening experience for me and that's no reflection on the quality of the music.

I enjoy the P-Funk goofiness of these guys, and they have a great gift for hooks, and Andre 3000 is a fantastic MC. But I don't know. The production of this album is really thin. And after a few songs I get tired of the frenetic pacing and delivery. Every time an Outkast song pops up on a mix I've excited to hear it. But this album, for me, anyway, just doesn't cut it. Nice to hear Killer Mike on that one track, though. Maybe we'll get some Run the Jewels on this list. Now there's a hip-hop duo I love.

I dug this and hadn't heard it before, so that's cool. I don't know that this is my favorite Fela album ever. Also, I'm not sure how much Ginger brought to the table, but hey, if it got more people to listen to Fela, then right on. Anyway, the dude's band it tight and any Fela is good Fela, so, thumbs up.

yeah, nah, i'm just not into these guys. mostly, i think i just don't like Anthony Keidis, even though he actually has a pretty good gift for melody. but i just can't stand the way he sings. At least they try different sounds and a few approaches to songs. i don't hate them the way i hate Limp Bizkit. but they're just not my jam. also that album cover is pretty bad.

I'm familiar with Soft Machine, so I had some idea of what to expect here. I'm glad this was included as it's not the kind of thing you hear very often. And once I got used to the vocals, I came to rather like this. Fans of Kid A should find much to enjoy here, though, I think I might like it even more than Kid A. I dig the pastoral vibe. And yeah, it's not the kind of thing I'll listen to every day, but some of the jams were spacey and cool. I definitely get some Meddle-era Pink Floyd vibes, which makes sense, given Nick Mason's involvement. Anyway, thumbs up.

I always felt Kravitz was a middling talent (although I dug him as Cinna in Hunger Games, and I love "It Ain't Over 'til It's Over"), though I've never had strong feelings about him. But damn, I was not expecting to actively dislike this album. I never thought he was a great singer, but there are so many moments on this album that were cringe-worthy. And his lyrics have never been strong, but that's especially true here. And on top of all that, the music just doesn't work for me. The grooves aren't compelling, the hooks are lacking. I liked the strings on that garden song, but that's about it.

I want to like The Roots more than I do. I think they're interesting, I dig how they ambitious they are, and Black Thought is a great MC. I really liked the more experimental tracks on here like "Water" and "Something in the Way of Things," and I dug the groove on "The Seed 2.0." But ultimately, I feel like there's something missing. Their hooks don't grab me, maybe. I don't know. I feel like my 3-star rating doesn't do this album justice, but that's how i'm feeling. i will give this one another shot, though.

Yeah, great stuff. The title track is still one of my all-time faves. I simply never get tired of hearing it. The album in general features Marvin at the height of his vocal powers. Dude can do it all. And I love it when he harmonizes with himself. The band is tight as hell, and this time around I was floored by the great drumming. I'd give it five stars but as much as I love that opening track, I feel like the other songs aren't quite as great. Also, I forgot what a downer that last track is. It's a good song, but for an album all about sex and love, to end on a breakup song is interesting.

I was never really into these guys and this listen didn't really do much to change that. The hits are still cool, but a whole album's worth is a bit much. I got tired of Liam's voice about halfway through. Noel definitely has a gift for melody and great hooks, though, and I still dig the strings on "Don't Look Back in Anger."

OK, this is where I get my little rant off my chest. My big problem with this list is some artists are WAY over-represented. (e.g. there are 7 Beatles albums on here, 7 Dylan, 7 Neil Young, 6 Elvis Costello, 6 Stones, and EIGHT David Bowie albums. But no howlin' wolf, of montreal, MF Doom, run the jewels, neutral milk hotel, desmond dekker, etc. etc. I mean, I love Sonic Youth, but there are 5 Sonic Youth albums on this list and that's 4 too many.) So, overall, there should be a three-album cap per artist to make room for other albums/artists. /rant As for how I feel about this album on its own terms, honestly, I don't really care for it. The title track is perfection and Fame is cool. Somebody Up there Likes Me is good, too. But that's about it. His singing really annoyed me on this one—and I'm a Bowie fan. The grooves are kind of mid and the tunes are pretty forgettable. Plus, that cover of Across the Universe is weak. (Fiona Apple FTW!) I love that Bowie stretched out and constantly tried new things. And he could always be counted on for putting out a killer song or two on each album, but this one is one of his weakest album of the '70s and I struggled to get through it.

Another gem from k.d. lang! I prefer the lush Patsy Cline arrangements of Shadowland, but I think the songwriting here is more interesting. And damn, what a voice she has. There are several moments on here when her backing vocals come in that gave me the chills. I feel like this one will grow on me with subsequent listens. Who knew I'd come out of this project a k.d. lang fan? Also, how did I miss her the first time around?

Yeah, this is a fun album and it was nice to hear it again. I like how eccentric and playful Nilsson is (e.g. the goofy bass on Jump into the Fire). And the dude can sing. His take on Without You is the best. I didn't care for Let the Good Times Roll, though. Anyway, solid album. Probably more of a 3.5 for me, but let's round it up, I'm feeling generous.

It was nice to listen to this again as the last time i listened all the way through was back in college. This used to get a lot of spins back in the day and I was surprised how many of the lyrics I still remember. Having said that, I've never loved this one as much as This Year's Model or Get Happy. The hits are still great and I really dug Green Shirt and the last three songs. But I found the other tunes a little boring, and in general, the arrangements aren't quite as thrilling as those other two albums. The Attractions are an amazing band, but their talents are pushed to the background on this one, which isn't always a bad thing, but I missed the energy they brought to those other two albums. Hard to know how to rate something like this one. Do I give it 3 stars as an EC album or 4 stars compared to some of these other records? I guess I'll go 4.

These guys fall under the "I appreciate what they're doing but they're not my jam" category. I had their first album back when it came out and I dug it OK. The sound on this one reminded me a lot of 80s-era Zappa but without the memorable hooks. They're killer musicians, and I like how they can seemingly play anything under the sun. There's a lot going on, some of which is interesting. "Freddy's Dead" was cool but nothing else stuck with me. I'm going straight down the middle with a 3.

This is why I like this little exercise of ours. Before yesterday, I'd never been able to get past the third song of this album, which is a shame because I know it's widely considered one of her best albums and I love Joni. Blue might be my favorite album by anyone. So I've always wanted to like this one, but always turned it off after the first three songs. I don't know why, exactly. Something about the sound and the rambling tunes and her Sprechstimme delivery. But this time around, I kept listening and I'm glad I did. I enjoyed Strange Young Boy and the title track and I just kept liking it more and more from there on. Maybe I've finally cracked the code on this thing. My 3-star rating might seem a little low but I'm hoping this one grows on me. BTW, the Wikipedia article for this album is worth reading. She led (is leading) quite a life. Makes me want to check out a biography of her. (Also, somewhat unrelated, but that article led me down a dark rabbit hole about Jackson Browne and what an abusive shit he was/is. And I wonder how guys like that got away with that for so long.)

In the Oasis vs Blur battle, I was definitely a Blur fan. I practically wore out my copy of this disc back in the day. But it’s been years since I’ve listened to it so I was curious how I’d feel about it today. And I still rather like it though I’d cut out about four of the songs as the albums drags a bit on side two. Having said that side two has two of their best songs (To the End and This is a Low). Anyway, the highs are still high but there’s more filler than I’d like, IMO. This is more like a 3.5, but i'll round up for nostalgia.

I was hoping, given how much I enjoyed Vauxhall and I, that I would have a newfound appreciation for The Smiths. Sadly, that's not the case. I connected with a few songs. Bigmouth is now stuck in my head for the rest of the day. But for the most part, I just found myself getting impatient.

Yeah, I'm just not into Dylan. I can appreciate the song craft, but the recordings drive me crazy. One song has an out-of-tune guitar, and, in a few of them, that harmonica was like an ice pick into my skull. I wish I could appreciate him, since the people who dig him love him so much. But I just can't do it. So I'm going with a 3 because this is the case where I just don't get it but I can tell there's artistry happening.

It's hard for me to feel terribly strongly about FF either way. A few of their songs are cool. An entire album is too much. Mostly, I want their vocals up higher in the mix so I can hear what Dave is going on about. Or maybe I don't want to know. I don't know. I like their angst-free music, but at the same time I often feel like there's a lot going on about nothing. Hard to know how to rate this. I feel like I've been giving a lot of 3s lately, but what are you going to do.

Hey, another great discovery. This is a perfect selection for this kind of list because I never would have listened to this otherwise. I don't think I've ever heard a Marty Robbins song, except maybe on a soundtrack somewhere. I loved it. The production is amazing. They really knew how to make records back then. And Robbins isn't just a great singer, but a commanding storyteller as well. I've come to really dig a lot of American music from '58-'62. The stuff you hear in David Lynch movies. It's very uncynical and uncool and kind of wide-eyed and haunting. I love it.

Well this was nice to hear again. Been a while. I forgot how consistently good this album is. Maybe not quite a 5-star, but I will be spinning this one more frequently now. If you dig this, check out Spacemen 3. more stripped-down and droney, but also great.

I like Blur and hip-hop and dub. In fact, I like all the elements that go into Gorillaz. And what's more, I want to like Gorillaz. They seem cool. But damn, I can't bring myself to like Gorillaz. This album is so dreary and bland. And for a guy who knows how to write amazing hooks (Albarn) they are all but missing from this entire album. Yeah, "Clint Eastwood" is fine, but the rest ranges from boring to annoying. I couldn't wait for this thing to end.

Back when The Who had a sense of humor and whimsy. I hadn't heard this all the way through in years, and I'm glad it showed up. Yes, some of the songs are silly, but those never overstay their welcome and I marveled at how well the whole things flows. Plus, I'm not sure I ever realized what a great song Sunrise was. I was also surprised at how much Pete sings on this one. Always love it when he sings, and having the songs roughly divided between him and Rog made for a nice change of pace. In keeping with the whole pirate radio experience, I admire how much the band was able to change its sound from track to track. Our Love Was is still fantastic, as is I Can See For Miles (which sounded better than I remember it sounding--not sure if it was remastered or if it was just given better production that the rest of the material on here.) Anyway, I dig it, though it's not quite a 5-star album for me. But I love how quirky and fun they were in the 60s.

I went on a Byrds tear several years ago, and I found that, more often than not, the David Crosby songs were my favorites on their albums. I just dug his sound and his fluid use of major and minor chords. Then a co-worker suggested this album to me, and the way he hyped it made me very very excited to hear it. Boy was I disappointed. Just seemed like endless noodling. When Crosby was in the Byrds and CSN, I think those guys really reined in his wilder instincts. This time around, I liked the album slightly more. Tamalpais was kind of cool, as was Laughing. But not cool enough.

As much as I'm a fan of Bob, this was the first time I ever listened to this entire album. I'm partial to the Lee Perry era, mostly because of how experimental it was—from before reggae settled into a formula—and I've never cared much for The Wailers' early Island records, mostly because they contained slicker (and less-interesting) versions of the Lee Perry-era songs. So I guess that's why I've avoided listening to this for so long. (Even though my first exposure to Bob was the all-Island-records-era Legend album that every dorm room in college had a copy of.) But damn if this album isn't great. First of all, the sound is phenomenal—as much as I love the Perry era, his production never sounded as rich and enveloping as this. Here, the production is flawless. You can hear every last detail. And I was blown away by how amazing the drummer, Carlton Barret, is. Even though reggae is often made fun of for how basic and repetitive it is, this dude constantly finds a way to keep things interesting while always remaining tasteful. It's amazing how many of Bob's greatest hits came from this one album. You get past the first four songs (which are great, by the way) and then it's just one hit after another. Dude was on a roll. (The last time I was blown away by how many hits came from a single album was The Stranger by Billy Joel--also from 1977.) Anyway, Bob was a true legend. He had a fantastic gift for melody and his lyrics are timeless. Perhaps more so than any other songwriter or band (maybe even more so than The Beatles), his music transcends borders and cultures. You might not like reggae (though my guess is if that's the case it's because you aren't listening closely) but not liking Bob Marley is akin to not liking the sun. Having said all of that, it's hard to know how to rate this album. It's clearly a 5 as far as an original release goes (songwriting, performances, production, etc.). But is it an album I want to pop on and listen to again anytime soon? I think it, like Zeppelin IV and Who's Next, kind of suffers from its own greatness and over-familiarity. Do I really need to hear Stairway/Baba O'Reilly/Three Little Birds again? I guess today the answer is yes, though I don't know when I'll next pop this sucker back on. 5/5

No one could ever accuse Tim Buckley of not giving it his all. Man, this is a weird one to evaluate. I like Tim Buckley, but I also think he often sounds like a parody of himself. I think his vocal shenanigans work best when paired up with equally bizarre music (as it is on the excellent Starsailor, which somehow NOT on this list?). On this album they were more distracting than impressive, even though the dude has a range most singers would be jealous of. That said, the band here is on fire and there are moments when everything comes together. I especially dug "Sweet Surrender" and "Making it Right." The other songs, though, I wish we could take the backing tracks and give them to other singers to see what kind of melodies and lyrics they could come up with. (Imagine James Brown singing "Get on Top.") And speaking of lyrics . . . well, again, I found them more distracting than interesting. Having said all of that, I was surprised to find that I was sad when the album was over. Tim Buckley's a hard guy to know how to recommend to people because he changed his sound so often. For my money, Starsailor is where it's at, but I also recognize that that album is not for everyone, even Tim Buckley fans. YMMV

Exhibit A in why White Boys Playing The Blues is my least-favorite sub-genre. I can't find anything to recommend on this album. I know I'm supposed to be impressed by Jeff Beck but I don't hear anything remotely interesting in what he does. I've tried. Yes, he's done some cool things as a sideman. I dig his work with the Yardbirds, I guess. And yes, he helped Stevie Wonder write "Superstition" (which alone justifies his existence) but that's about it as far as I'm concerned. And on this album? Bo-ring. And I dig Rod, but he hadn't come into his own as a singer yet. He's got the chops but I don't believe a single word he's singing. It's like he's correctly pronouncing a language he doesn't understand. Ronnie Wood's got some cool bass lines going on, but in general I find the band remarkably disjointed. "Beck's Bolero," on paper at least, sounds like it should be amazing. Jeff Beck! Jimmy Page! John Paul Jones! Keith Freaking Moon! All on the same track! Wow! Except, they managed to create a piece of music that plays to none of their strengths. You could tell me it was anybody playing on that track and I guess I'd believe you. It's like one of those jam sessions they always do at the end of a Rock and Roll Hall of Fame induction ceremony. Lots of stars making a whole lotta nothing. I get that this might have blown people's minds at the time, but there's a reason Zeppelin became huge and Jeff Beck didn't. Some bands gel and create music better than the sum of their parts and others are the Jeff Beck Group.

I wish this had shown up on Friday when I would have had a whole weekend to listen to it. Yesterday I had very little time to listen, so I barely made it past the halfway point. So, assuming this doesn't all fall apart on the second half, here is my partial review. I can understand why this wasn't a huge hit like Rumours, though I also understand Lindsey had no intention of making Rumours 2, and I respect that. That would have been easy. This album ain't easy. The production here is amazing, though, and it made for an incredible headphone experience. I had heard Sara before, but had never heard all the little crazy shit going on in the background. This album isn't nearly as weird as its reputation. It's definitely disjointed—it almost seems like there's a Lindsey album and a "Fleetwood Mac" album—but I'm digging both albums. I love how this was considered a flop at the time but it still sold 4 million copies. The third-bestselling album of last year didn't even sell 4 million copies. Anyway, I look forward to going back into to this one and I can see this making its way into general rotation.

This is the first studio album I've listened to by these guys, which is weird because I've meant to dive into their catalog before—every time I've ever heard an album track by them I've always dug it. Anyway, I discovered a couple gems on this one. Overall: The production is often great, but more often than not, I found the arrangements distracting (e.g. the live versions of Homeward Bound and For Emily are much better than the ones found here. Those are stripped down so you can actually hear the singers). Paul Simon is a fantastic and quirky songwriter, but he hadn't quite found his voice yet on this album. His efforts at satire are embarrassing, and I often found myself rolling my eyes at his too earnest and sometimes pretentious lyrics. Still, Scarborough Fair is kind of magical. I dug Patterns. Cloudy was cool. And The 59th St Bridge Song . . . maybe this was a remastered version or something, but damn, I was getting some serious ASMR action from that tune, which I never noticed before. I also love how short it is. It comes, makes you smile, and leaves before it gets cloying. Not a bad listen, but I was hoping the deeper cuts would be better. There weren't any track that were as great as, say, Richard Cory or Hazy Shade of Winter. But I'm up for listening to their other LPs.

Not too many great artists have ever had a roll as great as Stevie Wonder did in the '70s. SITKOL has never been my favorite of his classic albums—I always loved Innervisions and Talking Book more—but I thoroughly enjoyed it today. Frankly, it might be the first time I ever got through the whole thing. And no wonder. damn thing is an hour and forty-four minutes long. I get why people consider this his greatest album. It's ambitious and sweeping. And when it's great, it's brilliant. The run from Sir Duke through Ordinary Pain is fucking ridiculous. And Ebony Eyes, As, and Another Star just plain slap. But like with so many double albums, this one is bloated. Honestly, I've never cared for songs 2-4, and I wish he had chosen a different, more upbeat opener. And many of the songs go on too long, especially Black Man, Isn't She Lovely, As, and Another Star. (The end of Isn't She Lovely has always grated. It's such a good song, but it legit goes on for three minutes longer than it needs to and those baby sounds are like nails on a chalkboard.) I know this is heresy, but if he had cut this down to one disc, it would be unimpeachable. Sir Duke I Wish Knocks Me Off My Feet Pastime Paradise Ordinary Pain Isn’t She Lovely (cut in half) Joy Inside My Tears Ebony Eyes As (cut in half) Another Star (Cut in Half) Anyway, it still gets 4 stars because it's massively impressive. It's just too damn much.

My 3-star review has nothing to do with the quality of the music. It's all great, well-crafted and -performed. I'm just not into it anymore. Twenty years ago, this was a 5-star album for me. These days, not so much. I think Thom's voice just wears me down. But they'll be OK without my support.

This album completely failed to make an impression on me. There were a few moments of blissful, beautiful noise, but that's about it. Maybe my head just wasn't in the game. Also, I kept getting distracted by how often this sounded like Coldplay.

I dig Massive Attack, but this one doesn't do much for me. Has some nice moments, but it's not as great as Blue Lines or Mezzanine (which somehow isn't on this list?). Perhaps, though, it's another one I wasn't in the right head space for. Mostly, I kept waiting for the songs to go somewhere. Euro Child and Sly were great. The rest, kinda meh.

I dig this overall thing these guys are doing on this record. The band is great, especially the bassist. But I find myself both attracted and repulsed by this guy's voice. On some songs the music backs him up perfectly. On the ballads, though, less so. Scott-Heron doesn't have the most subtle approach to singing; he comes in hot on every song. Anyway, this is a good album and I'll definitely listen to some of the songs on here. I checked out his earlier album, Pieces of a Man, and I liked that a lot more.

I actually had more time to listen to music yesterday than I normally do, and I still didn't get all the way through this one. These damn double albums are killing me. It's a lot of new music to absorb. I did skim through the last four tracks, and I'm glad I did if only to realize that this is the album that has O Children. I really dug a lot of the material on here and it makes me want to check out more Nick Cave. (Previously only listened to Murder Ballads, which is also great.) Not sure I care for the sequencing, though, with the first disc being rockers and the second ballads. Someone else said this wasn't meant to be listened to back-to-back, but still it seems like you should either mix the songs up or release them separately. But what do I know? Guess that's why I have the shuffle feature.

Never heard these guys before. Good stuff. Possibly great stuff. Only time will tell. But I'm glad I heard it and I will check out more of their music.

While I knew the title track and had heard Road Crew, the rest of the album was new to me. And it's cool. It's a bit same-y, of course, but at the same time, I was impressed with how much variety they managed to get given that Lemmy has a very narrow range as a singer and they are a three-piece band. Anyway, I dug it for what it is. Interesting middle-ground between punk and metal. Docking one star for Jailbait, though

I knew and enjoyed two of these songs already, but I was pleasantly surprised how much I dug most of the other songs, especially Andy You're a Star. The last four songs are a little weak, though, preventing this from getting a higher rating. It's more of a 3.5, but I'll round up to 4, just cause.

My daughter turned me on to this album a few weeks ago. I dig it. I do think it overstays its welcome by the end—as do so many punk albums—but it's a fun ride up through "My My Metrocard." It's playful and angry and quirky and funny and it makes me wanna grab my guitar. What more can you ask of a record? Also, "What's Yr Take on Cassavetes" made my day.

I keep trying to like Wu-Tang because I feel that someone who digs hip hop should like them. And I kind of do, but not for a whole album. At the end of the day, though, I like my hip-hop with hooks. Must be the pop guy in me. Also, for all the talk about what a genius producer RZA is, I often feel like his records lack depth. And on this album there were several tracks where I couldn't clearly hear the rappers. i didn't hate this. and at least this one mostly avoids all the long chattery intros that plague so much of Wu-Tang albums from this era. If one of these songs came on in a mix, I'd be excited to hear it. But a whole album just wears me down.

What's with all the Radiohead lately? Anyway, I know I've been kind of down on them with the past two reviews, this one I still dig. Mostly. It'd been a while since I listened to it all the way through—though when it first came out, I practically wore out my copy, that's how obsessed I was with this band. Anyway, today I was really enjoying it, marveling at how fantastic the first six songs were. And then the three song stretch of Fitter Happier through Climbing Up the Walls hit and all the energy got sucked out of me. I still love No Surprises and The Tourist, but by that point I'd had my fill of Thom Yorke's whiny delivery. Hence the 4-star rating. I can't stress enough how much this album wowed me upon release. Also, I saw a review once that merely said "Punk Floyd," and I still think that's a perfect summation.

Cool. A 45-minute summation of why the 80s sucked. Good sound, misogynistic lyrics. Sharp-Dressed Man’s OK. Give Me All Your Lovin could have been a Huey Lewis song. I give this album one star and five lines of coke. P.S. ZZ Top's origin story is worth looking up. https://ultimateclassicrock.com/fake-zombies-zz-top/

I don't really know her catalogue very well, so this was the first time I sat down and listened to her with any degree of focus. The first half of this album, her voice struck me as more affected than sincere. And I confess I found her style more grating than I was expecting. Plus, the songwriting wasn't really grabbing me. I started to enjoy things on Moody's Mood For Love, but they really clicked into place on In My Bed. The music and production matched her voice, but she also toned down her jazzy affectations. I enjoyed the second half of the album. Then I did a quick listen to the first few songs on Back to Black, which sounded great. Unfortunately, she only had the two albums. Anyway, a decent debut album, and I can see re-listening to Amy, Amy, Amy and In My Bed.

This was an interesting listen. I loved this album when it came out, but I haven't listened to it at all since then. I was surprised at how I still remembered most of the lyrics. I wondered if I'd be able to actually judge the album or would I be blinded by nostalgia. I still don't know. When it came out, I remember thinking this was a return to quality for the band. I hadn't really cared for Green or Out of Time. But this one appealed to me right away and it quickly became one of my favorites of theirs. In hindsight, I like it less. The opener gets things off on the wrong foot. Frankly, I never really loved it. Too dour and slow and it overstays its welcome. The next two songs are still great. Everybody Hurts . . . it's hard to hear that as an actual song and not the meme it's become. I don't love Stipe's singing on that tune. Also, I generally prefer Stipe when I don't fully understand what he's singing about. He often gets too earnest for my liking and that's especially true on Everybody Hurts and Ignoreland and a few others. But when it's great, it's great. Sweetness Follows still sounds great. And I really dug Nightswimming, earnestness notwithstanding. Anyway, for a band i was obsessed with but whom I have not listened to in 30 years, this was a cool chance to re-evaluate. But it didn't make me want to dive back into their catalog.

One of my favorite album covers. There are definitely some good songs on here, though I wasn't into it for the whole album. I liked it quite a bit back in the day, though, but unlike Automatic for the People, I don't remember it very well. On some songs, I felt myself thinking Greg Dulli was a great singer, and then on the next song I would wonder how the hell this take made it to the master. The music often sounds great, and the lyrics are sometimes powerful and provocative, but at the end of the day, I kept wanting there to be more hooks. My daughter dug it, though, what few songs she heard. So it's got that going for it.

Nice. Another one I haven't listened to since I was a kid. I was 12 when this came out. I never owned a copy. Owning a cassette with cursing on it? No way. I felt like a rebel as my friends and I would crowd around my friend Andrews boom box at school and try to sneak in a song or two at recess. I don't think I ever even heard the second half of the album until today. Too bad, because it's great. Even more adventurous and fun. Loved the xylophones on "Gone Daddy Gone." It's an interesting album in that I don't think there's anything else quite like it. It's quirky and fun and funny but also angsty and ragged and nervous. I was too young at 12 to really understand everything he was singing about but I definitely agreed with the vibe. And the band crushes it, especially the bassist. And even though I was bitching about the '80s the other day, here's an example of an 80s album that still sounds great, precisely because it doesn't have any of that '80s production that sounds so dated today. This thing could have been recorded this year. Reading about the album, I keep seeing comparisons to the first Modern Lovers' debut, and yeah, maybe, I guess I can kinda sorta see it, but Jonathan Ritchman was singing about Pablo Picasso, whereas Gordon Gano, is singing about being a teen in America, and he nails it better than most YA novels ever have.

The first thing I did when I found the complete list of songs for this thing, was to see what Beach Boys albums they chose. And I can't say they got it wrong. Pet Sounds, of course, but they chose the best pre-PS album (this one) and the best post-PS, too (Sunflower). So good on them. I get that some people will just never love the BB's sound, but I do. That combo of Mike singing the verse and Brian's soaring falsetto on the chorus is just magic to my ears. Side one has lots of great BB party songs, but it's side two where things really come together and point the way towards Pet Sounds with his chords and arrangements. Those harmonies and jazz chords just do it for me. But I grew up listening to doo-wop music (because my parents did) and so the BB were just the logical extension of that. If you grew up listening to literally anything else, I can see why the BBs might seem dorky and old-fashioned. Of course, it wouldn't be a BB's album if it didn't have some duds (except Pet sounds). Help Me Rhonda isn't a dud per se, but I never want to hear it again (and the damn thing just keeps going an fading in and out, psyching me out every time). And then there's "Bull Sessions with Big Daddy." Oh, Brian. Why.

This was nice to hear again, though it didn't make me eager to dive back in to their catalog. Guess I'm just sort of over them, though that's not the fault of this album. This was their new album when I first started listening and for the most part I think it holds up well. Nice big sound. I don't know that I ever need to heard End of the World again, but that's not their fault. Fireplace is still a banger. The last three tracks are weak, though. This is more of a 3.5 for me. I'd round up, except that Lifes Rich Pageant and Murmur are on here and those are better.

Huh. After the first two songs, I was feeling pretty down on the album. (My daughter checked out, too, so she blasted Neutral Milk Hotel to cleanse the palette.) But after dropping my daughter off at school, I put the album back on and found that I liked the third song. And then the next one. And the next. And slowly but surely, this album won me over. So much so that I started listening to it all over again, and it's just a solid album through and through. Great lyrics, hooks, harmonies, production. Right on, LDR! Giving it 4 stars now but it could grow into a five. Also, I enjoyed the Joni cover, but damn if that Weyes Blood person doesn't sound EXACTLY like her. I had to look her up to see if I wasn't being trolled, that maybe LDR snuck Joni on there under a pseudonym.

Meh. I dig the guy's messaging, but it felt very safe, dated, and lacking nuance. The whole time I was listening, I was longing to hear Public Enemy or any of the brilliant hip-hop artists who aren't on this list.

The rare album that is a commercial favorite and also beloved by aficionados. It's great as background music but also holds up to intense scrutiny. Everyone is in top form here and many of these compositions became standards. Plus, there's the whole modal jazz thing, which is fascinating if you care but beside the point if you don't. At the end of the day, this is beautiful music, well written, wonderfully played, and the perfect soundtrack for a rainy day or a cozy Sunday morning. One of the problems with albums that get dubbed as "the greatest" (like this one) is that it puts undo pressure on that album that the artists never intended. Miles was always trying new things, but it's not like he set out to create what would become the bestselling jazz album of all time. And labeling something as "the greatest" can't help but affect newcomers' attitudes towards that music. They might listen to this and not love it and then think, "Well, I didn't love the best jazz album ever, so I guess jazz isn't for me." Suffice it to say that there are many kinds of jazz, just like there are many kinds of rock and hip-hop, and just because Kind of Blue didn't wow you, doesn't mean something else won't. This was definitely a gateway album for me, but it might not be for you. The 20th Century gave us a ton of horrors, but it also gave us The Beatles and Miles Davis, so overall, a thumb's up.

Hard to know how to rate this one. There are several 5-star songs on here: My Generation, The Kids Are Alright, Out in the Street; and some good ones: A Legal Matter, La-La-La-La-Lies, The Ox. In terms of historical importance, this is a 5. (This is the beginning of punk, after all.) They play with ferocious energy that must have sounded like a kick to the head in 1965. And there aren't really any bad songs, per se. (I still love the notion that The Who cover two James Brown songs.) But, their cover songs aren't the best. And It's Not True and The Good's Gone are merely OK. So, some 5-star songs and 5-star history, and I love how much fun they are having. But in terms of albums I'm going to listen to, more like a 3. So, let's split the difference and go with a 4.

I remember when this was out and popular. It was maybe the first time I realized I had nothing in common with most of America. Jon is such a poser of a singer and the album is just one cliche after another. As Sadie put it: "This band is mid." Having said that, "Living on a Prayer" is fucking great. So it's gets an extra star.

I enjoyed this OK. Didn't make much of an impression on me. Seemed pleasant enough in the background, but there wasn't anything that really grabbed my attention. Then again, I could see this growing on me if I were to give it more spins. I enjoyed it more than her sister's music, TBH.

Meh. I honestly never understood people's love for this album. One Nation Under a Groove is a good album; this one just feels like a lot of noodling.

I enjoyed this OK. Lots of soul/R&B ground covered in 40 minutes, though nothing left much of a lasting impression. I was glad to learn about this guy, though. Dude played with everybody.

When they stick to their originals, they're great, but their covers are pointless. And although they're an incredible singles band, they are boring jam band. That "Grapevine" cover doesn't need to exist in the first place, let alone 11 minutes of it. I enjoyed the beginning and end of Ramble Tamble, but that whole middle section is a yawn-fest. But damn, those other originals are fantastic. This was my first time listening to a whole CCR album. I think you're better off sticking to that Chronicle collection.

Area man goes on a murderous rampage after enduring Fatboy Slim's You've Come a Long Way, Baby. Is acquitted of all charges.

The Who were so busy racing to develop rock opera technology, they never stopped to consider if they should. The story has always seemed kinda silly to me, so it's hard to take most of the songs with any degree of seriousness, even though many of them are enjoyable enough. Quadrophenia is a million times better.

I was not picking up what these guys were throwing down, though track three was kind of interesting.

There was a time when I had more patience for music like this. But then again, I never really loved J&MC as much as the bands they inspired. Their sound always irked me. Too much high-pitched noise drowning out whatever the hell is going on underneath. I can take it for a song or two maybe, but a whole album? Nah. Give me Medicine or My Bloody Valentine over these guys. Anyway, I think here is where I gripe about the ridiculousness of giving an album one rating. I feel like there should be four criteria. 1) How well are they succeeding in pulling off their artistic endeavors? 2) How much do I like this? 3) How much does it belong on this list? 4) Random other contributing factor. On that scale, I give this album a score of 4, 1, 3, and Highly influential. Or I can just give it a 2 and be done with it. The other day, I gave Tommy a 2, which I think isn't fair. According to my new system, its rating should be: 4, 2, 3, and Highly influential.

Somehow I never got around to listening to this before now (aside from the title track, of course). I enjoyed it, though I don't know that I loved it. Sometimes I found the lyrics to be original poetic and sometimes I think they're amateurish. Vincent is a good song, but it's also a good example of this. "You took your life as lovers often do" is a good line. "Look out on a summer's day / With eyes that know the darkness in my soul" sounds like something an angsty teen would write in their diary. Ultimately, I doubt this album would be on this list were it not for the title track. But How do you rate that song? It's so ubiquitous it's hard to hear it with fresh ears. (Kind of like Stairway to Heaven.) My take from this listen is that the song is equally amazing and ridiculous. (Also kind of like Stairway.) I remember as a kid enjoying trying to decipher who all the artists were. But once you do that, I'm not exactly sure what you're left with. Then again, the chorus is catchy as hell, so who cares. It's been a while since we've had an album I've loved, and I feel like I'm turning into the cranky guy. So, I guess I won't be the cranky guy today and I'll just enjoy the melodies, and he's not a bad singer, and the production is pleasant enough, and I really enjoyed that last tune with all the harmonies.

Not as bombastic as their previous two, which is what I love of about PE. Plus, anytime Flav is rapping I'm tuning out. Still Chuck D's lyrics are (sadly) relevant, even if he's not as gifted of an MC as some of the guys who followed in his wake. Personally, I'd chop this album chop off the list.

I appreciate the chops these guys have, but damn do i dislike this era of fusion. The arrangements and production is so dated and often sound wimpy. Having said that, Birdland is definitely fun. Someone else said it sounded like the soundtrack to an '80s buddy cop comedy and now that's all i can hear. Jaco crushes Havona. Palladium is fun, too. I love Miles Davis' fusion albums, and all of the guys who would go on to form all the biggest fusion bands started out in Miles Davis' band: Joe Zawinul and Wayne Shorter from Weather Report, John MacLaughlin and BIlly Cobham of Mahavishnu Orchestra, plus Chick Corea, Tony Williams, Herbie Hancock, and others. I love their work on Miles' albums, but I cannot stand any of their post-Miles music.

Yeah i dug this. It's similar to other things I've heard before but blended differently, somehow. There's dub and afro-beat and doo-wop and hip-hip and other stuff all mixed together in an understated and chill way. My daughter dug the vibe. I don't normally go for empowering spoken word interludes, but here it worked. also, i could listen to that woman speaking all day long. I'm not sure if it's an "album I needed to hear before I die," mostly because it's kind of inoffensive and it sounds like the kind of music you'd hear in a hipster coffeehouse. But then again, I'd never even heard of this group before this, so ultimately, I'm glad it was on the list. I enjoyed the whole thing, it had a great flow, and can see returning to it. Monsters was a standout for me.

I just can't with this guy. But I fixed it by listening to Einstürzende Neubauten. Ahhh... much better.

Good musicians playing music I don’t care about.

Oh man, I wish I loved Prince. Few people have ever been as supremely talented as this dude. But his studio albums have always left me cold, thanks to that sterile '80s production. I just can't get over it. The drums and that keyboard just zap all of the soul out of the songs. For me. I love watching live Prince. But studio Prince, I just can't hack it. My loss.

I've always enjoyed this album but have never loved it. There's not a song I dislike, though I find them all a tad cold and the production a wee bit thin. Also, I don't care for how the album is broken up into a groovier side and a mellow side, though, when this came out and it was only available on vinyl, I can see the appeal of putting on whichever side you're in the mood for. But in the digital age, not so much. Still, Eno creates great sounds and he has a real gift for catchy melodies, and his lyrics paint lovely pictures. It's a 3.5 for me.

Damn. Dude was on a roll. This time around, I enjoyed focusing on the performances and production. Loved Woody Woodmansey's drums on "Soul Love," and Mick Ronson's juicy guitar on "Moonage Daydream" and Bowie's otherworldly vocal performances throughout. p.s. When my daughter got a record player, this was the first album I bought for her because I feel like all record players should just come with this album.

Nice to hear this album again. I forgot how great it is. Though they're known for their chiming 12-string guitars—which sound so great through the album—Chris Hillman's galloping bass on "Renaissance Fair" is the instrumental highlight. They were on a roll on this one. Every song except two (CTA 102 and Mind Gardens) is fantastic. It's crazy how great David Crosby can be, and also how much of a self-indulgent ass. "Everybody's Been Burned" is one of my all-time favorite Byrds songs. The mood, the chords, his singing... (chef's kiss). But damn Mind Gardens is utter garbage and he insisted they inlude it when they had other quality songs in the can--even his own incredible Lady Friend. But more often than not, his songs are my favorites in The Byrds' catalog.

One of those live albums, like Johnny Cash's Live at Folsom, where the audience is half the fun. "Lost Someone" is the highlight: the man sure knew how to work a crowd. I prefer his later music, but damn, what a document.

Apart from the title track, I'd never heard anything by these guys, so I was looking forward to hearing more from what I keep hearing is a seminal band. But boy did I have a hard time wrapping my head around what I was hearing. The first three songs just seemed like novelty songs intended for kids—what was up with that West Side Story bit?—but then Blue Turk hit (and was excellent) and from there on I struggled to figure out who the intended audience was. Good musicianship throughout, though, and interesting vocals. I also liked Alma Mater, especially that end bit. But overall, I'm glad I heard it. Was happy at how diverse and fun it was, but I'm not sure I'm going to be revisiting this one beyond those two songs I mentioned.

I always find it interesting hearing artists before they hone in on their sound. If I didn't know any better, I never would have thought this was Maiden—especially due to the different lead singer. But the music is also spacier than I normally associate with the band. Although I'm not especially a fan of Bruce Dickinson, I can see why the band achieved greater success with him as lead singer as opposed to Paul Di'Anno, as Di'Anno strikes me as pretty unremarkable. He did a good job on the title track, though. Anyway, I enjoyed hearing this even though metal isn't really my jam—especially '80s metal. Not sure I consider this as something people need to hear before they die, but what do I know. Bonus points for the band really committing to the Eddie-themed covers for their entire career.

ugh. another one of these. i get that this is great to dance to, but it's not my jam for listening. It's better than that Fatboy Slim album. I dug the Beth Orton track ok.

Yeah wow, it's been 30 years since I last listened to this album, and I was struck by how easily I was able to sing along with nearly every song. I love art like this: singular, insular, off-kilter, beautiful and dark. This album is the paranoid sibling of Piper at the Gates of Dawn. It's like Burt Bacharach meets Philip K Dick. In terms of personal appreciation, this is probably a 4 for me—as much as I love it, I guess i don't love it so much that I've felt the need to listen to it in the past 30 years—but I'm rounding up to 5, mostly because I love that something this unique was ever allowed to be released into the world.

Let me set aside my rage over the shameless Wire and Stranglers rip-offs to try to enjoy this thing. The harmonies on Car Song are cool. The beginning of Hold Me Now is cool. The melody for the verse on S.O.F.T is cool. I think the thing that prevents me from enjoying this music (aside from their plagiarism, of course) is the singer's cold, ironic, distant delivery. I get tired of people who think they're better than everyone. Personally, I'd rather listen to Sleater-Kinney.

As much as I love National Treasure Willie Nelson, and as much as I enjoy some of the tunes on here (Blue Eyes, Hands on the Wheel), I don't love the album as a whole. I dig the stripped-down approach that wound up being so influential, but the concept album aspect gets a little old, especially with that refrain showing up again and again. Also, I wish there were more Willie originals on here. Still, it's impeccably performed and not a single song overstays its welcome. But I prefer Phases and Stages and Shotgun Willie. It's a 3 for me in terms of listening to the whole album, but it gets an extra star because I love me some Willie. Plus, the dude is 89 and still touring. Long Live Willie Nelson!

Fuck yeah. I've always loved this album, ever since I first heard The Wizard. I know it's not their most popular album or their most consistent, but damn, they never sounded as huge, nor did they ever swing as hard as they do here. Huge props to the rhythm section. Bill Ward is criminally underrated as a drummer, but this album succeeds largely because of him. He always keeps things interesting, somehow managing to morph jazz drumming into metal. You'd be hard-pressed to find another album that's more influential than this one. Hell, the title track alone invented an entire genre of music (and even the sub-genre of doom metal, if you care enough). How many songs invented a new genre? Plus, this album is just so much damned fun, even on side two where things get a lot less focused. Highlights: the bass on Behind the Wall of Sleep, the lone cowbell hit on The Wizard, Ozzy's singing throughout, but especially on that title track where he sounds like Satan himself, and Tony "I invented 12 legendary riffs before breakfast" Iomi's guitar playing on the title track and his Flamenco-inspired bit on side two. Oh, and that album cover is one of my all-time favorites. I also love how much the critics hated these guys. Fuck the critics. I encourage everyone to watch their live 1970 show in Paris. Amazing stuff. Such fantastic energy. The band at its peak, before the drugs and alcohol did their damage. 40 minutes of perfection.

I'm glad I got to hear this, because I know how influential Jansch was to so many musicians in the '60s and '70s. Then again, I prefer his work with Pentangle because there's more variety (plus, there's a whole band and another (better) singer). There aren't too many dude-with-guitar albums where I can get through the entire thing. Pink Moon is the only one that comes to mind, and that's because Nick Drake is a better singer and songwriter than Jansch. Bert's a great guitarist, though. I can see why so many people value his work.

I knew every note of this album in high school. I never reach for it anymore. That's how I feel about most of Floyd's catalog, save for Piper. Not that I don't like them, but I just OD'd on it. I find it hard rating these classic rock albums. The intro to Shine On has always dragged on too long, IMO, and I say this as someone for whom Gilmour is his favorite guitarist. But there's too much keyboard noodling for my tastes. But when Roger starts singing, it's all good. The intro to Welcome to the Machine is great, though. Menacing. Such a weird song, too. Subtle time changes. The music sounds very Doctor Who. In a good way. Have a Cigar: Another killer into. I dig songs that are immediately recognizable. Title track: I mean, what can you say about it, other than it's great. The second helping of Shine On is great, too. I dig the See Emily Play quote at the end. Well, I enjoyed that. The musicianship and songwriting and production are all aces. Still, it feels very high school to me. I wonder how soon I'll feel like listening to it again. I know PF struggled creatively in the wake of Dark Side, having achieved everything they ever set out to do. There was a lot of "OK, now what?" But they pulled through with an album that's still speaking to millions of people all these years later. Impressive.

Failed to make an impression on me. Maybe I just wasn't in the right headspace for it.

Ray Davies is my favorite lyricist. He tells beautiful and sad tales of everyday Britons with such empathy, compassion, and love. That alone would endear him to me, but these songs aren't just pretty tunes or great rockers; they're also powered by Davies' scathing wit, which is fueled by rage and contempt towards the powers that be who stomp his protagonists into the ground, killing their sons in war, and crushing their spirits, leaving them with only dreams of owning a house with no outdoor loo or buying a nice hat, which they can wear while scrubbing the stairs. Plus, the songs are bangers. This album contains some of the best Kinks songs of all time (Victoria, Shangri-La, Arthur, and Some Mother's Son, which is the best anti-war song ever). And the fact that this ambitious project is just ONE of the contenders for the Best Kinks Album is a testament to how damned great these guys were at this time. Their run of Face to Face, Something Else, Village Green Preservation Society, Arthur, Lola, and Muswell Hillbillies rivals the best run of any band or artist. As a die-hard Kinks fan, I now have to sign off with the obligatory "God Save the Kinks."

There's a great episode of the Cautionary Tales podcast about the making of this album. Def worth hearing. I do enjoy this album. It's impressive that the dude improvised a double album on the spot. And I dig it as background music. But for a focused lesson, not so much. It's a lot of the same thing over and over again. I don't mean that he doesn't vary things up; there are stylistic and dynamic changes throughout. But at the end of the day, it's just one dude playing a piano for an hour. Having heard this album before and knowing that it's a lot to take in at once, I spread out my listening over the course of the day, which helped. Anyway, I admire this album more than I like it. And again, it's cool background music.

Boy, that cover is the most Eighties thing that ever Eightiesed. This album did nothing for me. I tried to put my hatred of '80s production behind me, but so much of this album just sounds like the stuff you hear in dentist offices. Plus, on several songs, I felt like that backup singer was oddly mismatched to not only the music but she overpowered Boy George on several occasions. Still, a couple of songs were OK. And I certainly don't hate this music. I just find it very Eurovision. But thumb's up for Boy George pushing gender nonconformity 40 years ago.

Interesting choice for a Mingus album. I admire this music more than dig it, but parts of it are fantastic. It's a real mood-piece. Sounds like it could be the soundtrack for a sleazy noir flick. I own two other Mingus albums (Ah Um and Pithecanthropus Erectus), both of which I prefer to this one. Ah Um has shorter pieces and the longer ones on PE hang together more and are less abstract than the extended tunes on this one. If I want avant garde big band stuff, I prefer Sun Ra. I dug the guitar work on this one, though. Very cool.

I'm kind of surprised I never checked out this album before this, given my predilection for this kind of music. I dug this, though I wasn't sure I would from that first track. (I've been a huge fan of the Mott the Hoople cover of "Darkness Darkness," and thought this original was just kind or weird.) But after that, I got into it. Tight band. Catchy tunes. Not sure how soon I'll be revisiting, but I'm glad I got to hear it.

Hot damn but that funky bass will get you movin'. I got into a disco groove a few years back, but this was the first time I listened to an entire disco album. In short, I dug it. Killer musicians, of course: The interplay between Nile Rodgers and Bernard Edwards is thrilling. Great arrangements, too. The songwriting is slight, perhaps, but that never really bothered me as the grooves were too much fun. Overall, it's probably more of a 3-star album, in terms of how much replay value this has for me, but I'm giving it an extra star just because the bass on Good Times is one of the greatest things ever and also how influential that song was. Plus, I dig that album cover.

I had high hopes for this one, and I dig that they were doing something different, but this never came together for me. The opener and title were cool, but man did I get tired of this thing.

Not sure why I never connected with Wilco more. I dug Uncle Tupelo. I am definitely their target audience. Most of my peers love Wilco. All the ingredients are there: good songwriting and musicianship, etc. But I don't know, their music just leaves me a little flat. They seem a little safe, even when they venture into the noisier bits. Also, Jeff's vocals don't draw me in for whatever reason. (Part of what made Uncle Tupelo great was the mix between his and Jay's vocals.) But all of this is on me, not them, hence the 3-star rating. Then again, Outtasite (outta Mind) is pretty great.

Bossanova always sounded like a band doing a pretty good Pixies imitation but lacking the songwriting chops of the actual Pixies. How they have this album and not Surfer Rosa on this list is ridiculous.

Even a Christmas Grinch like me loves this album. Most of these versions are definitive. Minus one star for Phil being a murderer.

I knew nothing about this until I got halfway through it, which made for a kind of cool listen. I've never heard Billy Bragg's music before this. And although I didn't pick up on the fact that the lyrics were all written by someone else (i.e. Woody Guthrie), I did like the lyrics a lot. All the stories were cool, and I wondered about the old-fashioned references, unsure if that was something Bragg was famous for. I will confess when I saw Wilco's name so soon after our last listen my first reaction was an eye-roll, but I dug this even before I knew the deal with it. Also, I didn't recognize Natalie Merchant's voice, but she was cool. Thumb's up all around.

The first time I heard Chasing the Girl, I was on shrooms, and I thought it was the greatest song of all time. Spoiler alert: it's not. Anthony Keidis might be my least favorite singer ever (which is not something I realized until I participated in this project). I don't like how he sings or what he sings about. I'm not giving them one star, though, because the musicians are good, I just wish they put their talents to better use. Also, I had a fun time listening to Chasing the Girl that one time, and that's not worth a star, than what is?

Well-performed music that does nothing for me.

I'm an unabashed Genesis fan, and I like all of their different eras. SEBTP is probably my favorite of theirs, so this was an easy 5 for me. The songs are whimsical, inventive, often hilarious (check out the lyrics for The Battle of Epping Forest) and endlessly fascinating. The performances are stellar throughout, with bonus points going to Phil Collins, who delivers a drum performance for the ages. I know prog isn't for everyone, and I'm not even really a prog guy. Mostly I find the genre pretentious, stuffy, and noodly. But Genesis always had a great sense of humor, which cuts through the pretension, and I never find their songs too long or boring. (The only tune that doesn't land for me is After the Ordeal, but it's fine.) Plus, Peter Gabriel might be my favorite male vocalist, so there's that.

Yeah this is cool and all, but the whole alcohol-soaked Bukowsi thing gets a little old. I prefer the later, weirder, moodier Waits albums. But all in all, if this is your vibe, there's good stuff here.

I was 18 when I first heard the debut VU album (The Velvet Underground & Nico), and I had that classic reaction that Brian Eno referred to (“The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band”). It forever altered the way I listen to and think about music. But their last two albums (this one and Loaded) are the ones I keep coming back to. This is an album packed with exquisitely written songs, performed in that loose, low-key, post-John Cale-VU way that I adore. "What Goes On" informed my rhythm guitar style, probably to my detriment as a guitarist, but what are you gonna do? (Plus, that double-tracked guitar solo still thrills.) The Murder Mystery is the only tune on here that isn't a home run, but even that one's cool. The VU are so much a part of my musical DNA I don't even know how to talk about them.

I have a hard time rating this one. There are several awesome songs on here (even more on their previous album, Life). But enough of them miss the mark somehow, and her sex-kitten vocals wear on me after a while. But damn, Love Fool is such a perfect pop song. Also love Happy Meal II and Step On Me. I prefer their cover of Sabbath Bloody Sabbath on Life to Iron Man, but it's all in good fun. I saw them on this tour and they were great.

Hmm... another one I struggled to rate. The drum machines were killing me, but there was enough other stuff going on that I was (mostly) able to listen past that. And they mix it up enough that I never got tired of what they were doing. On the other hand, there was a profound lack of hooks, so I struggled to pay strict attention. So I guess I'm going with a middling 3. In high school, I had a friend who was into alternative music, and he turned me on to several bands, most especially Sonic Youth (thank you, Justin!) but also Big Black. Anyway, he was into The The and this was one of his bands (along with Foetus) that I never came around to. I liked it better this time around.

I adored Grand Master Flash when I was a kid. Yes, the rhymes were either silly or, in the case of The Message, interesting-but-basic, but their music was (and still is) awesome. They knew how to keep things interesting and fresh. When RUN-DMC hit the scene, my first impression was that they were boring. The lyrics and flow were as basic as could be and so was the music (or lack thereof). But to my surprise, these guys were hugely influential, and hip-hop followed their blueprint for the next several years. So I tuned out of the genre. Too bad for me, because I missed a lot of great music when it was happening. Now that I've rediscovered the genre, it's been fun going back to the hear all the artists I missed the first time around, but to me RUN-DMC still sound kind of boring and basic. At least their message (whatever there is beyond the boasting and dissing) is positive. None of the misogyny, homophobia, or gangsta crap that would pervade the genre. And props to them for being so influential.

This one won me over. I don't know that I exactly went into this with a bad attitude, but as the first couple of songs played, I kept wishing I was listening to other albums. Also, the singer's voice was irritating me. But then Liberty Ship came and it caught me off guard and suddenly I was all in. I don't know that I'm ready to give this a five, but it was way more interesting that I first gave it credit for being. I will definitely return to this one.

This is definitely NOT an album you need to hear before you die. A couple of the songs are good enough, but at the end of the day, The Faces are just a bar band, and that's cool to swig a beer to, but ultimately not very interesting in the long run. Having said that, you can put together a pretty killer playlist of the best songs from the Faces/Rod Stewart solo albums (which also feature The Faces) from their 1970-72 heyday. But aside from Every Picture Tells a Story, there's not a single album that's worthy of inclusion on this list. Also, it cracks me up that in a band with Rod Stewart that Ronnie Lane would say, "Hey guys, you know I can sing, too."

I had high hopes for this, which was my first time ever hearing Marianne Faithful. Her voice surprised me, and honestly, grated on me as the album went on. I did like the first track. There's some interesting stuff going on here, but ultimately, I kind of feel like these songs would be better served by other performers/producers/arrangers. But props to her for putting out a comeback album that's not a rehash of her early stuff. love the cover, though.

Huh. Never heard of this guy before. I kind of dug it. Good rhymes, interesting flow. I might return to this one to give it a better listen. One point off for Da Bitches, though. Do better, hip-hop.

I want to like the Beasties more than I do. I dig how eclectic and adventurous this album is, but at the same time, I rarely feel that these explorations yield anything profound. Most of the instrumentals, for example, feel more noodly than interesting. Also, their vocal delivery often annoys me. And I never understand what they're saying. Having said that, some of these songs just fucking slay. I really enjoyed "Eugene's Lament," and the final three songs, which reminded me of some of Miles Davis' fusion albums. And then there's "Sabotage," which is in a league of its own. There's a roller coaster at Universal Studios where you can choose a song to listen to while you ride. Sabotage is one of the choices and is perfectly synced to the ride. So I always associate plummeting down that final hill when the boys yell at 1:52.

A little Joy Division goes a long way. I enjoy their first album. This one feels like a bunch of unfinished demos or something. The first song is killer, though. After listening to this, I popped on PiL's Second Edition and enjoyed that way more.

I enjoyed this, though the whole time I kind of felt like it wasn't the best genre for Ray Charles' talent. I feel like his sound and vocal approach works best with a more stripped-down R&B thing (ala "What'd I Say"). Also, even though Quincy Jones did many of the arrangements, I don't think they were quite as thrilling or inventive as what Nelson Riddle was doing at the time. (Maybe QJ hadn't come into his own, yet.) But "Don't Let the Sun Catch you Crying" was good, as was "When Your Lover Has Gone." I think it might help that I don't already know other (better) versions of those songs by other singers. BTW, do yourself a favor and check out the Les Paul and Mary Ford version of "Deed I Do." Perfection.

I was never into these guys (aside from some of their hits) and this album is kind of Exhibit A, and I'm not exactly sure why. On paper, they should be right up my alley, as I like this genre/period of music. All the elements that I like are there: quirkiness, polyrhythms, Eno, etc. I was hoping this listen would get me more into them, but it didn't quite happen. Things never really came together for me. Also, many of the songs sounded the same, so it was getting a bit much. Finally, this album struck me as the kind of thing '70s NYC literati would swoon over, which bothered me for some reason. I did, however, love their Al Green cover, and I adored that last song. That slide guitar was *chef's kiss. Dre turned me onto Remain in Light many years ago, and that one I do like.

OK, so first of all, I thought these guys were an EDM band, so I was glad to be disabused of that notion. The next thought I had as I was listening was that these guys must've been huge fans of The Talking Heads. Still, I was kind of digging the vibes of it. But then that singer started driving me crazy, especially with his oh-so-tiresome "I have nothing to say but I'm gonna spend a lot of time saying it" lyrics. Then the Talking Heads influence became more of a straight up rip off, except on some of the songs, when the dude sang like a low-rent Bono. Do these guys have an original thought or idea? How is this album on this list? Brooklyn produced a number of interesting bands at this time (Menomena, Dirty Projectors, etc.), but judging from this album, these guys aren't one of them.

I think that harmonica might send me into therapy.

Thumb's up for originality. I dig the aesthetic. For a bit, at least. But as with Joy Division, a little goes a long way. Rock Lobster is a prime example. That song should be 1/3 as long. Still, the band is tight and they're fun. If this was the house band at a beach-side bar, I'd be thrilled.

I never listened to this one as much as Parklife or The Great Escape. I wonder why, as it's pretty similar, though maybe not quite as cooked. It also doesn't quite hit the highs of the other two albums. Good stuff in general, though I get a bit tired of their attitude as some of their lyrics are rather condescending. But their tunes are pretty good and I was surprised at how many I remembered. Blue Jeans, For Tomorrow, and Chemical World are standouts. As with Parklife, I'd trim maybe 1/4 of the album as it's all a bit much. (That's the problem with a lot of albums from the CD era. Not restricted to 42 minutes of music anymore, so let's fill up the disc!)

I rolled my eyes when this showed up. After Dylan's live album last week, I thought the algorithm was trying to White-Guy-With-Guitar-And-Harmonica me to death. But I enjoyed this way more than I expected. Never was a huge Young fan, though I always respected him and enjoyed his contributions to other bands. But his voice always grated. Not at all on today's listen, though. I might give this one another listen at some point to see if it grows on me even more.

My appreciation of Nina's music only grown through the years. She always delivers gutsy, soulful performances, her range is vast, and her overall approach to music is timeless. Plus, she's a hell of a pianist. It seems criminal to me that she only has one album on this list as her career is so varied and this collection of songs is not. Every song on here isn't of 5-star quality, but damn who cares. If you haven't heard Sinnerman or the live version of Pirate Jenny, do yourself a favor and check them out. Truly one of the greatest musicians of the last century.

Goddamn Courtney Love is a great punk rock singer. Her dynamic range is insane. The way she instantly switches from "normal" singing to throat-shredding howl never fails to thrill. I don't think I ever listened to this entire album before. Too bad for me because this album is killer. Yeah, it's definitely front-loaded, but none of the latter tracks are bad and that last track is fantastic. Plus, the album has nice variety. I'm going on the record: This is my favorite grunge album. And it's not even close. Those grunge dude bore me with their grunting wallowing in self-pity. Courtney is righteously pissed and I'm so there for it. Also, "Violet" is one of the greatest opening tracks ever.

When I first heard this album (back in college), I thought it was a bit overrated, but still, it was quirky and pretty enough that I kept wanting to come back to it. And it gradually won me over. Other than the two instrumentals, every song on here has been my favorite song on here. (Currently, my favorite is "Don't Talk (Put Your Head On My Shoulder)"). Anyway, I love it to death, though I can totally understand others not digging it or even wondering what all the fuss is about. But it's weird and wonderful and unexpected and honest and imperfect-but-trying-really-hard. And I love that about it. I dig all the bizarre arrangements and crazy left turns and lush chords and the bass playing and of course those harmonies. Again, I get it if it's not your bag. But it is definitely mine.

As I listened to this, I started wondering why Lana Del Rey's Chemtrails album appealed to me so much more than this one. They're both slow and depressing. But I think LDR's songs are more interesting and her singing has more dynamic and stylistic range. I mean, there's nothing bad about this album. I definitely not my jam, but I've enjoyed albums in this project that aren't my jam. There just has to be something striking about them. Nothing really stood out to me. I will say, that even though TS doesn't do anything particularly interesting with her voice, she avoids the over-emoting and vocal fry that so many current singers do. She trusts her songwriting enough to let that speak for her. So I like that about her. And there are TS songs I enjoy. But overall my experience with this was that it was pretty bland and there wasn't enough variety to keep me interested. Also, I was thinking that other duet she does with Bon Iver was on this album (Exile) and I kept waiting for that one to show. Nope. How to give this a rating, though? As far as albums I will listen to, this gets a 2. As far as Albums You Need To Hear Before You Die, this gets a 2. As far as being a pretty decent album for people who like this sort of thing, I guess it's a 4.

I enjoyed this way more than I thought I would. I'm not into jam bands. And these guys can't sing. I'm not entirely sure they are very good guitarists. And yet I found quite a bit of this album entrancing—the spacey bits, not the more traditional noodley bits. When they were doing kind of standard jammy stuff I was bored. In fact, I skipped through half of the second song. But that third tune (in the Who Do You Love suite) was incredible. The noise and swooping feedback totally won me over. I'm sure Sonic Youth is a fan of this album. Some of this stuff even reminded me of the best of Miles Davis' 70s fusion work. These four dudes had a real chemistry together. And while I didn't enjoy all of this, I did admire their commitment to go OUT THERE as well as their patience to let these jams rise and fall (and fall and fall) and trusting the audience to hang in there with them.

Rock-solid reggae, though aside from the classic opening track, nothing terribly memorable about it. But great playing throughout. "Til Your well runs dry" is a cool take on the old William Bell tune "You Don't Miss Your Water."

Boy there's a lot of EDM and house music on this list. This album didn't annoy me, though I did lose patience when he felt the need to fall back into EDM tropes where he'd take a phrase and repeat it ad nauseum. But thankfully he didn't do that very often. Some cool sounds and vibes, though, but not enough for a 3. More like a 2.5.

Classic Frank, though not my favorite. I don't know why everyone always chooses this one over A Swingin' Affair from 1957 when that one's better. Whatever. This is great stuff. Any time Frank teamed up with Nelson Riddle they made magic. That opener is magic and "I've Got You Under My Skin" might be his greatest moment. Music to cook to!

Photograph isn't a half bad pop song. The rest is almost a self-parody with all the stupid cliches. Plus, if you're mentioning the words "rock and roll" in half your songs you're just pandering too hard. And my god that guy's voice. I will say, Mutt Lange did a stellar job producing this trash. And the band doesn't have a terrible sense of melody. If they actually had something to say and a singer who didn't sound like a Spinal Tap reject, this might've been a 2 or even a 3. I just noticed that there are TWO Def Leppard albums on here. TWO. There's no Heart, Ween, MF DOOM, Glen Campbell, Les Paul, Deftones, Laurie Anderson, Weezer, Shawn Colvin, Of Montreal, Joe Jackson, King's X, Hank Williams, Neutral Milk Hotel, or Uncle Tupelo, but there are TWO goddamn Def Leppard albums on here? You know what? Bring it on, motherfuckers. Y'all are just making me stronger.

This was my first exposure to Bad Brains, though I've certainly heard of them. Frankly, I don't know that I've ever heard any of the DC hardcore bands. I wasn't sure what to expect but I certainly wasn't expecting this. I think it's probably great, though I was having a hard time wrapping my head around what I was hearing exactly. The music kept changing and the singer was all over the place, stylistically and also range-wise. Plus, I couldn't understand 80% of what he was saying. But the band was tight and they were doing some interesting thing. I don't know that the production quite served the music, though I'm not sure I can put my finger on why or how. So I'm giving this a 3 because I don't know what else to give it. (Afterwards, i went and checked out a couple of tracks from their first album. That was a little more what I expected. Not sure I could have stood a whole album of that but whatever.)

I really enjoyed much of the music. Some great, effects-drenched Neo-psychedelia. But that singer. Completely lacking in any sense of melody or even hooks. He sounded like a two-bit Bono with a dash of Jim Morrison, but without any of the talent or charisma of either singer. And he just wouldn't shut up. For that reason, I really dug that instrumental last song, "Reprise." Reminded me a bit of "Drown" by Smashing Pumpkins. 4 for the music. 1 for the singer. 2 for the songwriting.

Pretty, but a little too safe for my tastes.

Yeah, kind of cool. I think it would take a few listens to suss out everything this album has to offer. Maybe i'll get there one day. Reminded me a bit of Young Marble Giants.

Maybe I just wasn't in the mood for this one, but this dude's detached attitude and sprechstimme schtick wore thin after the second song.

First things first, I don't think this is an album you need to hear before you die. Dude has 8 albums on this list, this seems like an easy one to cut. So, minus one star from me (though that's not Bowie's fault, but whatever). As far as the album itself goes, I had never heard this before, and I liked it. It definitely has a late-stage-artist-comeback feel to it, which to me means it reminds me of his earlier, more vital work, but it also offers up new sounds and ideas. This isn't a cash-in album at all, and Bowie clearly wasn't done being a creative force. I did feel like the album was lacking a bit of energy, though I think that may be more to the production and arrangements than the songwriting or even Bowie's vocal performance. It kind of felt like there was a gauze over the whole thing. Anyway, there were some great songs on here and several I would have chucked. Then again, very few Bowie albums are great from beginning to end, so I guess it's merely another rock-solid Bowie album. Which is cool. (Also, I loved the album art.)

Until today, I had never listened to an entire Kate Bush album. Which is weird, because in college I practically wore out a copy of her greatest hits collection, The Whole Story. But yet somehow I never got around to picking up any of her albums. Earlier this year, when Stranger Things brought her back into the public's eye, I made an attempt to listen to The Hounds of Love, but I got distracted and never got around to finishing it. Anyway, I'm glad I finally got to listen to this, as I'd always been captivated by its cover. I've always been stunned by her vocal range, but damn on this album she's just flat out ridiculous, sometimes becoming four or five different characters in a single song. No wonder she worked with Peter Gabriel as their two approaches to singing are so similar. There's a lot to digest on this album and my one listen isn't going to be enough to fully "get it," but I'm going to go ahead and give this a full five-star review, just for its sheer audacity (these aren't even songs as much as they're experiences. Whole worlds are contained therein) and for her bravura performances. It's possible this will settle into four-star territory as I become more familiar, but I'll give her the benefit of the doubt.

Huh. Well that was something. I'd never heard Ian Dury before so I had no idea what to expect. Having heard it I'm still not sure what to expect. I kind of liked it and hated it in equal measure and often for the same reasons. I guess my overall feeling is that a little Ian Dury goes a long way. I found myself getting impatient in the middle of songs where only seconds earlier I was thinking it was pretty cool. The musicians were terrific throughout. And also, it was cool to hear a record that so obviously influenced Blur. Overall: good show, Ian. And also please stop.

Wow, I haven't listened to this album since it first came out. I was pretty smitten with it for about two weeks and then it got old real fast. Hearing it today, though, it was the perfect soundtrack to this dreary, wet, unusually warm winter's day. I got a little tired of it by the time we got to the penultimate number, but I wouldn't necessarily say it wore out its welcome. I love that second song to pieces.

I was never much of a U2 fan, mostly because I always thought Bono was a twat. But when this album came out, it blew me away. The sound seemed at once timeless and revolutionary, turning even slight songs into majestic beauties. The production is just so rich and juicy and deep. Even today I was hearing things I'd never heard before. So, sound-wise, this is a 5/5 for me. Songwriting-wise, though, it's less stellar (3/5), which might be why, after obsessing over this album for several months after I got it, it fell out of favor with me, and, except for hearing its hits in the wild, I haven't listened to it since 1991. Beautiful sounds, though. And that simple, swooping bass line in Mysterious Ways is one of my favorite musical things ever. I think this album informed my musical tastes more than almost any other album of that time (except for maybe Loveless), so, Imma have to give it at least a 4.

When I started listening to this today I wondered why I wasn't more of a fan of his when he was still alive. Most of my friends were big fans of his, but I don't know. Maybe I didn't want to get on the Elliott Smith bandwagon. So I was digging his melodies and the whole one-man-band thing, until about four or five songs in and it all started sounding the same to me, and that's when I remembered why I wasn't more of a fan. I can take him a song or two at a time, but as with so many bands/artists, a little goes a long way. But I really do enjoy him. In small doses.

OMFG with the EDM on this list. Before starting this project, I had zero feelings about this genre. It didn't bother me, I didn't bother it. We might even pass each other on the street and nod politely. Now, though? It's war.

Sigh. I really wanted to like this album, as I felt surprisingly letdown by Parsley, Sage, Rosemary, and Thyme. I like S&G. I think Simon is a fantastic and interesting songwriter. (Fantastic in that he has great melodies and lyrics, and interesting in that his songs often take quirky left turns.) And "America" and "Mrs. Robinson" are just perfect, 10/10 songs. But too often on this record the arrangements got in the way of the songs. Like on that "Save my child" song. Even "Hazy Shade of Winter," which is pretty restrained by this album's standards, doesn't quite connect the way The Bangles' version does. I guess they're more of a hits group, rather than an album group.

Meh.

Hearing this one made me appreciate Purple Rain more. This one's fun and all, and I have fond memories of hearing "Delirious" when it was the fresh hot single and thinking it was quirky and cool, but this album felt very slight compared to Purple Rain in terms of its arrangements. Also, every song lasted way too long. Apart from the singles, I really liked "All the Critics Love U In NY."

Huh. I guess I'm becoming a Talking Heads fan. Cool grooves, fun lyrics, plus Tina's a great bassist. The first few songs were a little too formless for my liking, but by the time I got to Who Is It? I was all in. I guess I need to dive back in and start from the beginning.

Yeah, great stuff. Well-crafted songs and arrangements, bristling with energy and great performances. Plus, there's not a wasted note. This would be a 5 except I don't love their voices.

Hardcore isn't my favorite, but there's some great stuff going on here. I've long been a fan of "California Uber Alles" and "Holiday in Cambodia," but this was the first time I got to hear the whole album. Overall, I think this album could use better sequencing because although it is pretty varied for a hardcore album, a couple of the back-to-back songs sounded too much the same for my liking. other than that, though, the band can play and they mix it up, and Jello's lyrics are biting and hysterical and (sigh) still relevant.

Good stuff, though I prefer his other versions of some of the songs, like the live version of No Woman, No Cry, the Lee-Perry-produced versions of Lively Up Yourself and Bend down Low, etc. But still, it's Bob Marley, so I feel like I'm nitpicking.

I was never much of a Stones fan, but my friend Jim managed to get me into a few of their albums when I was in my 30's (Beggars Banquet, Let it Bleed, Satanic Majesty's). But for whatever reason, this one just never appealed. Clearly, there's a lot of care in the arrangements and production. And I do like some of the songs (Moonlight Mile, Can't You Hear Me Knocking, I Got the Blues), but none of them would be my top ten Stones' songs. And meanwhile, Wild Horses has never done a thing for me; Sister Morphine... I don't know, songs about addiction mostly bore me; You Gotta Move is like nails on a chalkboard; and I don't even really know what to think about Brown Sugar (though the "You should've heard them just around midnight" part is a damn catchy piece of songwriting). So, I get that people love this. It's just not for me.

How much you like this album really depends on how much you like epic romanticizing of blue collar life in 1970s America. Me not so much. I don't hate it, exactly, but sometimes Bruce sounds like a parody of himself. Also, I often feel like he's pandering to his audience the way modern country artists do. But he does what he does well, and his band is tight. Badlands is cool. And though I don't love Candy's Room, I do admire the bizarre arrangement. Mostly this listen just brought me back to riding on the school bus, listening to WMMR's The Morning Zoo, and wondering when these songs would end so we could get to music I preferred. Also, I wonder if I'm the only guy who grew up in Freehold in the '70s who doesn't love The Boss?

This was a nice surprise. I didn't care for it when this album came out, but today I was totally digging it. It could probably use a little trimming, but all in all I like their sound and the guy's voice—even though it's limited in range. Good production, too.

I've never really cared for Aerosmith, though I recognize that "Dream On" is a legit great song, and "Sweet Emotion" is pretty cool, too. So I went into this expecting to shrug my shoulders and give it a 2. But side two of this album is actually pretty dope. I dig how weird they can get at times. I actively dislike "Walk This Way," though. In fact, I found most of side one kind of mid-to-bad. So, this is more of a 2.5, but let's round up to 3.

The problem with the Beach Boys is that they were capable of producing some of the best music ever recorded and also some of the most embarrassing—and it's not entirely clear to me that they know the difference. This album is Exhibit A. Side one is basically awful, though Disney Girls and Long Promised Road are merely too-earnest-but-otherwise-OK. Side two, though, features four of their greatest songs (Feel Flows, A Day In the Life of a Tree, Til I Die, and Surf's Up), with the title track being perhaps my favorite song of all time by anyone, and Til I Die being the last great Brian Wilson masterpiece, and it only gets better the more you hear it. Also, their manager Jack Reiley's vocals on A Day in the Life of a Tree are incredible. When I saw Brian Wilson a few years ago, I was thrilled when they played Feel Flows. What a great song. I'm glad their early '70s efforts are getting some love. Take those four songs and combine them with the best songs from their previous album Sunflower (Slip On Through, This Whole World, All I Wanna Do, Our Sweet Love, Forever), and you have the best BB album outside of Pet Sounds.

I have come to appreciate DM as an adult, but this album didn't do anything for me. It's too one-dimensional and depressing. I prefer it when they get weirder.

I really like Tim Buckley's Starsailor album. This one is just kind of meh. Dream Lover was kind of cool, but other than that, I don't see why we care about this guy. And how did he get away with not crediting Miles Davis on that opening track, which is blatantly ripping off "All Blues?"

i liked this more than I thought I would. Granted, it's not an album I'll be returning to to listen all the way through, but these songs are fun. I don't love the vocals, though side two was fun with that second guy screeching away. anyway, good stuff, though not my wheelhouse. I definitely think it belongs on this list, though.

Man, did I love this album when I was in high school. I memorized the entire thing on my guitar. Then one day I decided it was all a bit much, and it became hard to take it anywhere nearly as seriously as the band does. Still, Gilmore got in some killer licks. And Comfortably Numb is a banger.

S'alright. Every song goes on too long. They all kinda sound the same. Some nice harmonies. I think this probably got (and is still getting) more attention than it deserved due to Neil being older but still being able to rock as hard as the grunge guys. But again: s'alright.

I never heard any Supertramp beyond the hits. This was cool. I dug the interplay between the two singers. Can't say much of it stuck with me, but it intrigued me enough that i'll give this a second listen at some point. Still not a fan of Dreamer, though. Wait... is Breakfast in America not on this list? How does that make sense?

Rainy night, chill-and-sip-on-a-cocktail jazz. Setting aside the historical importance of this album (jazz purists hated it, not just because of its use of electric instruments, but because of the cut-and-paste work Teo Macero did in the editing room), it's just beautiful. Today, people call this proto-ambient. Whatever you want to call it, it's great. Some on this website have complained that this album is like 40 minutes of nothing happening, which is a fair point. In fact, it's THE point. And either you dig it or you don't. I do. There are other albums by other artists that try this. Sometimes it works. Mostly it doesn't. Considering how many guys are playing on here (eight, including three keyboardists) it's a wonder they don't trip over each other. Be careful, though! This album could be a gateway drug to Miles' fusion period! It was for me, and his albums from this period are among my favorites of any artist. I return to them as often as I re-listen to The Beatles. If you're interested in more stuff like this, I got you. While most of his fusion records are way more energetic (and out there) than this one, he does have the occasional track that matches In a Silent Way's chill intensity. Check out his cover of David Crosby's "Guinevere," and also the 1974 track "He Loved Him Madly." Both songs are like 20+ minutes and would make for a great play list with In a Silent Way.

Yeah, I don't know. First of all, the guy's voice grates on me. And although the band is clearly tight (great bassist!), I just can't get into this kind of meat-and-potatoes, feet-stomping, high-school-beer-chugging rock-n-roll. I did, however, enjoy the hell out of Gudbuy Gudbuy. Final note: Their idiosyncratic spelling really gets on my nerves.

I love this album's cozy funk; so cozy it sounds like it was recorded in a closet. Almost every track is a banger, but today I had a delicious laugh at the wonderful ludicrousness of Sly's yodeling on "Spaced Cowboy." I mean, come on. S&TFS, like Kate Bush, Donovan, Prince, Fishbone, Outkast, Wu-Tang, MF DOOM, Sun Ra, etc., don't just make great music. They have a fully developed world with its own rules, ethos, and mythology. Listening to their albums is like visiting another planet. S&TFS were hugely popular and influential, so it's hard to say they are in any sense underrated, but still, I'm going there. If you dig this one, their follow-up, Fresh, is similar and perhaps even better. (If nothing else, just check out track number one, which is one of the most beguiling songs I've ever heard.) But don't sleep on the two previous releases, either, Life and Stand, both of which are awesome from beginning to end. I wish Sly could've kept his shit together to give us more, but I'm thankful for what we got.

Had a really hard time caring about this one. As I listened, I kept wishing I was listening to other albums, including the first Arcade Fire joint, which is much better, IMO. More interesting. Better produced. So, this one: a whole lotta meh.

I thought this was cool, though not great. The grooves were there, but the songwriting didn't quite do it for me. But I look forward to hearing more from this guy.

Thiz dudez inziztenze on zinging like thiz was zuch a turnoff. The muzic was often cool, though.

I discovered Sonic Youth in high school and spent the summer of '89 obsessing over every one of their albums, letting their unique musical vocabulary rewire my brain. When I was 18, I felt like they were the only band that mattered. Their musical textures were so rich and complex, I felt like I could live in these songs. Yeah, their lyrics were often (let's face it) kind of dumb, but I didn't care. The music is what mattered. Anyway, to say I love this band is an understatement. But I haven't listened to them much in the past two-plus decades. Unsure why, but maybe that's just how it is with bands you were so close to in your formative years. So I was curious how I would react to this one, which is not their best, but it was a bit of a return to greatness after the disappointment that was Goo. I'm also curious how y'all will react. If anything, this might be the best SY album to start with, since it's their poppiest album. (If you can believe it.) My reaction: goddamn, I still love their music. The way Thurston's and Lee's microtonal guitars weave through and over and past each other still thrills. No, this album doesn't quite reach the highs of Sister, Evol, or Daydream Nation. There are no extended jams that we SY fans love so much. But Thurston was on a songwriting roll here. Some of these tunes are among the band's best. But then there's Kim. I adore Kim. I do not, generally speaking, adore her singing or her lyrics. Although some of her songs are some of the all-time great SY songs, none of those songs are on this album. And unfortunately, there's a lot of Kim on this album, which makes this one uneven. But I'll be generous and give it a 4. Bad news for those of you who don't like Sonic Youth: There are, I believe, five SY albums on here. Even as a fan, that's probably about four too many for a list like this. If it were up to me, I'd just include Daydream Nation and say, "Hey, if you dig this, you're in luck. There are a ton of great SY albums for you to check out. But if you don't, you can say you gave them a try and move on."

Back when this came out, a couple of guys at work cited this as a masterpiece. I never got it. I thought his band Whiskeytown was overrated, too. Plus, I remember thinking Ryan Adams was an asshole. I can't remember what stories I heard about him but I just hated this fucker. Give me Old 97's over this dude any day. Anyway, now I see stories about what a sexual predator this guy is, and I'm glad I hated him. I didn't make it through all of this, but I begrudgingly admit that the song "Amy" is kind of good. Perhaps the rest of it is good, too. But I don't care. And I know that this high ground of mine is rich and all, considering I'm a Kanye fan, but I think perhaps if I like Adams' music before learning what a douche he was it would be different.

i like the idea of Devo more than the reality. Too herky jerky and paranoid for my taste. But kudos to them for being so weird and wired.

I love Mezzanine, but have never been able to get into their earlier albums. This is my second or third try for this one, and there are just no hooks or for me to grab onto. I mean, it's cool for what it is, but I don't ever reach for this one.

I have a fondness for the first class of rock 'n rollers, and I've seen some thrilling TV performances from JLL in his heyday. So when I first heard this album years ago, with all the hype surrounding it, I was poised to love it. But frankly, the dude is a one-trick pony. (And a POS to boot.) There are some nice moments here and there, but overall, the performances are sloppy as hell and HE's the problem. I get why he was such an influence. And his records are great. But I'll take Little Richard over this dude any day of the week. There's a cool video of Little Richard in Paris 1966, playing almost the exact same set as this dude, only his band is way tighter. And Little Richard actually wrote his songs.

Small Hours was fantastic. The rest was a'ight.

This music feels very calculated and inauthentic to me. It's all very well-produced and performed. All the parts are where hit-song parts should go. There are the typical quiet-loud dynamics and explosive choruses. There are even parts that are kind of cool. But over all, it sounds like something an AI created. Meh.

Quality stuff. What Debussy might sound like if he had a hip rhythm section. Great and sensitive playing throughout. This has never been a favorite of mine for some reason—maybe I want a horn to change the sound up a bit—but it's always a charmer and it's fantastic background music. I love the ambient sounds. Listening with headphones was a funny experience as I'd often turn around, thinking someone was talking to me. I've been to the Vanguard, and this immersive recording really allowed me to picture what it must've been like to watch this trio. Also, I love this quote from Miles Davis: "Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got was like crystal notes or sparkling water cascading down from some clear waterfall." I went down a bit of a rabbit hole after listening to this. I thought Bill died in the '60s, but he lived and recorded up to 1980. He has two very cool albums with Tony Bennett that are worth checking out.

This has always been a favorite Beatles album for me, and I feel like it gets overshadowed by PPM and AHDN. The performances are excellent throughout, the songwriting is catchy, clever, fun, and inventive; the cover choices are top-notch and varied, the harmonies are thrilling, the arrangements are wonderful, and the recording is pristine. But above all of that, there is just so much energy and joy emanating from this album it's infectious. You simply can't be in a bad mood listening to this. No wonder they captured the hearts of millions around the world. Plus, I think this may have their best opening three tracks.

Yeah, this album is fantastic. I like it even better than Folsom. The Legacy Edition is the way to go, with all the great bonus songs and performances by the Statler Brothers, Carter Family, Carl Perkins, etc. Johnny Cash was amazing as always. Cool and empathetic. And his band is so tight here. There are so many moments where they have to pivot based on Johnny's ad-libbing or to wait for the audience to laugh or cheer. Not easy stuff to pull off. One of the great live albums.

On the plus side, I'm impressed at how well the instruments are blended. I can't imagine how hard it is to get the sound levels right with electric instruments and orchestral ones. So props on that front. Also, James Hetfield sings really well throughout. On the downside, I don't really see how the orchestra adds anything vital to these songs. Just a lot of bloat. Also, two-plus hours is two-plus hours too long. I really don't see why this needs to be on the list.

This didn't quite click with me when it first came out. Glad I gave it another listen today as it's quite fun. It's a bit same-y and maybe a song or two too long, but overall, I enjoyed the energy and drama. And that singer totally makes (or breaks) the band. It's probably more like a 3.5 for me, but I'm feeling good today.

Just a blast from beginning to end. The musicianship was amazing. I loved all the wonky tempo changes and just how utterly ridiculous the whole thing was. Had the band not been so killer, it would have just been a novelty. But these dudes just flat-out rocked. I wish it had more Keely Smith, but that's about my only complaint. Plus, it led me down a Louis Prima rabbit hole this weekend, which was a good hole to hang out in. Loved it.

I haven't listened to this since college, so it was fun revisiting it today. Still, I can hear why this hasn't been in constant rotation since then. Although I enjoy the space-age sounds, Stevie's lyrics leave a lot to be desired. And, Superstition and Sunshine of My Life aside, the rest of the songs are pleasant but not memorable. I did love Maybe Your Baby, but it went on too long. Overall, solid stuff, though not the masterpiece I thought it was when I was 20. Of course, Superstition is one of my favorite songs ever, so there's that.

I enjoyed this OK, though not the production. Her vocal range is very limited, though I kind of dug how she got the most out of the voice she has. Her lyrics are cool. It's probably more of a 2-star rating in terms of albums I will reach for again, but I'm giving it 3 because she's not Bob Dylan. My daughter said it was vibe-y, so she approves. Terrible cover artwork, though.

A great debut, years ahead of its time. Yes, the band is sloppy as hell. Yes, the production is weak. Yes, there are two clunkers. But the other five songs are brilliantly messy and bold. There is no punk without I Wanna Be Your Dog, 1969, No Fun, or Not Right. Great stuff, if flawed. They got it right on their next album.

Yeah this is great stuff. Cinematic. Wonderful arrangements, songwriting, and production. Takes me back. This came out the same time as The Soft Bulletin by The Flaming Lips (and I learned today they were recorded in the same studio at the same time by the same producer!), but I always reached for this one more. I think it hangs together quite well even after all these years. My daughter dug it, too, so it's got the youth vote.

Much to my everlasting surprise, I've never hated Love in an Elevator. That's the best I can say about this crap. Screw Steven Tyler.

I definitely enjoyed this more this time around than when it was brand new. This was hyped as one of the best Britpop albums, but it sounded and felt like something out of the '80s to me, which was a turn off at the time. I still don't love that aspect of it now, but Jarvis is an interesting singer and songwriter. I could see this returning to this to dive in deeper at some point.

I went into this with an open mind. I'm not a Dead fan, but they seem like cool guys, so I saw this as a chance to fully engage with their live music, and I hoped that I would finally appreciate this band that is beloved by so many. That did not happen. This is actively bad music. Everyone raves about their jamming, but they are a terrible jam band. First of all, no one is playing anything remotely interesting, there were clams all over the place—especially by the bassist, and worse still, none of these guys are listening to what anyone else is doing, so it's like everyone is playing a different song. (And not in a good way, like Ornette Coleman or Ascension-era John Coltrane.) What's more, there's no fire or passion. This is the limpest, blandest, hackey-sackiest music I've ever heard. The fact that these tracks were not taken from one concert, but were instead hand-selected from a few different shows blows my mind. Like seriously? These were the best takes? Good lord. Please, people. Do not listen to this music. If you want that jam-band spacey vibe, there are so many better live albums out there that will slake that thirst: Happy Trails by Quicksilver Messenger Service, At Fillmore East by The Allman Brothers, or Live at the Fillmore East (March 7, 1970) - It's About That Time by Miles Davis. Those are great albums. This one is just not good.

Everything the Grateful Dead is not: Killer musicians, each one absolutely crushing it on their own instrument. Fire. Passion. Wit. I thought about dinging it a star because it gets a bit samey in the middle, but then "Contract" came on and it floored me, and the quality just stayed at that same level of brilliance til the end. I don't know why this fell out of rotation for me shortly after college. But don't worry, it's back in.

Yeah, I rather enjoyed this, which was a bit of a surprise given its '80s production values. But the musicians are killing it (especially the bassist), the arrangements are interesting and varied, the melodies catchy, the songs are dramatic, and the lyrics are witty. Good stuff. It got a bit much towards the end, though the last full song "4 Ever 2 Gether" brought it all home. This is more of a 3.5 for me, but it gets an extra .5 stars because of Martin Fry's over-the-top shouting of "Hip hip hooray!" in "The Look of Love." Glad I got to listen to this.

Huh. I enjoyed this. There there was one song where his guitar was out of tune and another where his harmonica was irritating, but the rest was, dare I say it: fantastic. Funny, even. Good job, Bob!

This is the first I've ever heard—or even heard of—Jane Weaver. I'm now officially a fan. This is definitely my bag. The drones. The vocals. The bubbly synths. It's like Stereolab meets St. Vincent with some psychedelic folk overtones. I love it. It's getting 4 stars based on one listen, but it also led me to her other albums, which I also enjoyed. Huzzah. Does it belong on this list? Well, I'd rather hear this than the Dead or hearing an 8th dinosaur rock group, so... on that level, yes. On the "is this something so interesting/groundbreaking/influential that i need this in my life" level, no. But whatever.

this did nothing for me, nor do i see why it's on here. an easy one to kick off the list for the next revision.

Maybe I just wasn't in the right head space for this, but this is another album that failed to make much of an impression on me. Been Caught Stealin' is still cool. The rest of it came and went.

I bought a copy of this in high school and it left a deep impression on me. It paints an ugly picture of middle America, showing you all the horrible things people do when no one else is looking. This is not a pleasant album on any level. It's harsh and abrasive and claustrophobic, and its subject matter is upsetting, ugly, and depressing. And yet, it's undeniably powerful and evocative. (I don't know how Albini is getting those insanely amazing guitar sounds, but it's like razor blades slicing up my brain and I love it.) I am attracted and repulsed. And forever changed.

yeah no. i can't take this music seriously. this is an easy one to cull from this list.

Somehow, this was my first time through an entire Aretha album. She's obviously got an amazing voice. I can't imagine what it must be like to be able to sing like that. And yet, at the same time, I found myself getting fatigued about halfway through. Unsure why exactly. She has an incredible dynamic range, which she employs to great effect. But her voice cuts through the mix in a way that kind of wore me down after a while. In small doses, she's incredible. Each song was well done. Great, even. But a whole album was a bit much.

I certainly knew the name Thin Lizzy, and it turns out, I knew them from the song "The Boys Are Back in Town." But other than that, I went into this totally blind. At first, I kind of rolled my eyes and wondered why this was on this list. The band can certainly play, though none of the songs seemed very inspired or interesting. But I don't know, it has it charms, too. I soon found myself nodding along to a couple of tracks. "Massacre" was pretty great, and it reminded me of early U2. A couple other songs had me thinking, "Oh, that's actually kind of cool." The drum solo was even kind of fun. I know there is some controversy over how much of this was recorded live and how much of it was overdubbed later. Whatever. It was perhaps more of a deep dive into the band than I needed, and I could have used a less weedly-weedly guitar solos, but at the end of the day, I'm glad I heard it. Maybe if I listened again, I'd get more out of it.

I dug this, and I had never heard of Jazmine Sullivan before today. Didn't care for the spoken word passages. I get that they are kind of the point of the album, but at the same time, they don't make for a good listening experience. I mean, they're cool once, but I don't need to hear them again. I have the same complaint with so many Hip-hip albums and their skits (Wu-Tang, Fugees, Lauryn Hill, etc.) Other than that, this was cool, though I can't say any song really stood out. But I dug the vibe and the performances.

Yeah, hoo-boy did I dislike this. Never really cared for these guys, and this solidified that position. They have nothing to say and spend a long time saying it.

Yeah, man, great stuff. So why only 4 stars? Dunno really. There's something a little ridiculous about this one, which is also part of it charm, but is also a little much. It's hard to argue against an album as influential as this one, brimming with all-time classics like War Pigs, Paranoid, and Iron Man. Though at the same time, the lyrics annoy me on this one in a way that they don't on their first album. I still love Hand of Doom and Faeries Wear Boots, though.

I hated this when it came out. But damn it grew on me. Hadn't listened to it in years before today. And while every song does sound the same, the melodies are indelible. Great stuff, but maybe just shy of 5 territory for me. Still, lots of fun.

I've always been a Paul fan, and this was a cherished album for me as a kid. I'm only dinging it a star because some of the tunes don't quite work for me, but damn, the ones that do just make me so happy to be alive. And what more can you ask for out of an album?

Yeah, this was cool. I didn't have the bandwidth to fully explore it, but there was much to enjoy here. I'm not thrilled that this was a compilation, but whatever, I'm glad I heard it.

Yeah, this is great stuff. An album I can always put on in a social situation and everyone chimes in with, "Oh, yeah, I love this album." Been a while since I listened to it. Glad it showed up.

A couple of bangers does not a classic album make. None of the post-Beatle solo albums are five stars for me, but this one is definitely overrated. The production is uninspired, but so are the arrangements. And for the most part, I don't love the songwriting, either. This is more of a 2.5, but I'm dinging it a half a star for the Macca dis track.

Hard to know how to rate this one. I love the first half. Five stars. Actively dislike the second, experimental instrumental side. "Heroes" has the same problem. Put the first two halves together on a playlist and you have the all-time best Bowie album. So, how to rate this one as-is? Three seems harsh, especially since I listen to side one all the time, but that's what it gets as an album score.

This was nice. He's got a great, easy, natural voice. The music reminded me of The Flatlanders and k.d.Lang. Simple arrangements and production, trusting in the guy's voice and the quality of the songwriting to bring the songs home. What's not to like? I look forward to hearing more.

Fantastic performances. Not the kind of thing I would have chosen to listen to—and it really wasn't what I wanted to hear today—but it kind of won me over. Sounds like the opening theme song for a PBS quirky mystery. So that's cool. I don't, however, think it's something I'm going to be reaching for again. This is one of those albums where rating it seems silly. Glad I heard it. Glad it's on the list. They're amazing performers. Three stars, just 'cause?

This was cool and was my first exposure to Burke outside of hearing "Cry to Me" in Dirty Dancing. Burke's a damned good singer with a great range, and I dig the style of music on this album. But at the same time, I can hear why his songs haven't quite stood the test of time like some of the other soul singers of his era. The songwriting is often lackluster, and even when the writing's good, the arrangements don't quite hit the mark (though "Won't You Give Him (One More Chance)" was interesting. I think he needed a great producer to bring out the best in him, like Aretha had in Jerry Wexler or Al Green had in Willie Mitchell. "Cry to Me" is the exception where everything clicks, so no wonder that one has had a life outside of this album. But overall, cool stuff.

Words by Common, beats by Kanye. What more do you need? I was glad to hear this as I think I'd only heard it in passing once before and for some reason it didn't stick. This time it did. Great stuff.

I've tried with this album before, and I just don't get the love. It's all just this soup of samey blandness.

Very cool. Never heard this before. It's like the missing link between Roxy Music and Duran Duran that I never knew I wanted in my life. And although David Sylvian doesn't have the melodic chops of either band, I dug the sounds, atmosphere, and bass playing. I liked it enough that I listened to a few other tracks from other albums. I did like Quiet Life the best of the few other tracks that I heard, but I'll keep digging. Anyway, glad this showed up.

I dig her swagger, her sound is unique, and her arrangements are on point. On the con side, though, she has zero range, and some of her vocal flourishes are borderline embarrassing. Also, the melodies here are entirely unforgettable. The hook from Criminal is cool, and the first song got better with a second listen, but mostly the album left little impression. I was hoping to like this more. I love her cover of Across the Universe. Maybe her other albums are better.

I wonder why they chose this album as the sole representative on this list. I mean, I get that it was a hit, back in '68. But I just don't understand the love. Even Allmusic gives it 5 stars. Frankly, I find the second half of the album unlistenable. But the first half is cool, with a couple of great tracks, so straight down the middle. I love The Small Faces. Their first two-and-a-half albums (their discography is confusing, due to various label shenanigans) are brilliant. Their first one is better than the early Who and their song "You Need Lovin'" inspired "Whole Lotta Love." (When I say "inspired," I mean, Plant ripped off Steve Marriott's vocal stylings outright.) And There Are But Four Small Faces has one glorious track after another. Well, whatever. It's good to hear any Small Faces, but this one's popularity has always confounded me.

I like prog, just not this album. The second tune was cool, and the musicianship was on point, especially the drums. I dig that something this adventurous is and has been popular. It blows my mind that prog bands used to sell out stadiums. But this one just lacks that certain something that I dig in such bands as Yes and Genesis.

Nice enough. Reminds me of Mazzy Star a bit. Nothing to get terribly excited about, but I suspect if I gave this more spins I'd dig it more. The second or third song had some cool tremolo action, giving me a buzz from all the microtones. Other than that, not much to report.

This was the first new SY album that came out after I became obsessed with them, and I remember feeling disappointed. This was the first time their new album wasn't as good or better than the one before (the previous one being Daydream Nation). But honestly, on today's listen, I was fairly impressed. It was better than I remembered. Still not great, but I dug it. Kim is the star on this one, and her song for Karen Carpenter, Tunic, is still a fave. It's a weird blend of touching and haunting. Feels very cinematic. Lee's tunes are good on this one, too. It's Thurston's songs that are a little lackluster this time around, which is unusual. Anyway, good stuff. I'd give it a 3.5 but I'm rounding down to 3 because Dirty's better and that got a 4.

I wondered if this would show up today. RIP Astrud. I got into bossa nova and samba back when Jobim passed away, and yet I somehow never listened to this whole album. I knew several of the songs, but the rest were really great, too. And what can you say about Ipanema, other than "Damn I wish I'd written that one." Second most recorded song in history. And it deserves every bit of praise it gets. I just love Astrud's voice. Relaxed and mellow, with a touch of sadness. And I dig Getz's sax playing. Very breathy and chill. Yes, the album is very same-y, but some albums do that well. Like this one. Five stars? Maybe not, but I can't see going lower than 4, unless you wanna deduct points of Getz being an asshole.

Sometimes more is more. Aside from the hits, I'd never heard this before today. I dug it. Not every song works, but every song tries its darndest. It's definitely a lot to take in in one sitting, with every second of every song packed to the gills with inventive flourishes and effects. It would be annoying if it wasn't so filled with joy and fun. Of the songs I'd never heard before, Birmingham Blues was my favorite. It's a 3.5 for me, but I'll round up for its audacity.

This is the Dylan album I'm most familiar with. It was on constant rotation when I was in college. It's great. I always bemoaned that his other "classics" weren't as good as this one. Side two gets a little long in the tooth for me. I just wish the songs were half as long, especially It's All Right Ma. But the rest of it is just one classic after another.

I enjoyed this, though there was a lot of it. Cut this down by 20 minutes and you got me. But great sounds and atmospherics. Matt says they're amazing live. it's a 3.5 as-is, but I'll round up just cause I like the cut of their jib

Back in 1991, MBV's second album, Loveless, hit me like a ton of bricks. It was such a unique approach to guitar rock. It was dreamy and noisy at the same time with Bilinda Butcher's breathy vocals floating way under the mix. Who knows what she was saying but who cared. I drove a couple of hours to see them live. And even though my hearing was damaged for three days afterwards (loudest show I ever saw), I was so glad I went, for they vanished for the next 22 years. There were rumors of a follow-up. The story I heard was Kevin Shields had recorded two album's worth of material, but for one reason or another, he scrapped them. As the years went on, a new MBV album seemed as likely as Half-Life 3. And then one day it suddenly dropped. And the reviews were great. I don't know that I ever bought a CD so quickly. And ... it was fine? I mean, I knew it wasn't going to be Loveless, but I was hoping for something a little more interesting. All the MBV elements are there and that's cool, but where Loveless was ethereal, this one is rather suffocating. Sounds like it was recorded in a closet. Also, it seems rather safe. And kind of tired. And the glorious hooks that were all over Loveless are missing here. Maybe that's the point, but if so it's a lousy point. I tried listening to it today without any of this backstory. Just wanted to evaluate it as an album. My opinion remains unchanged. It's a case of too little too late.

Not as good as Low, save for the excellent title track.

I don't know why I never connected with Zeppelin. They're cool, I guess, but I never became a fan. I do like some of their songs. On this listen, "Thank You" sounded glorious. Just perfect production from beginning to end. But I also get (perhaps unnecessarily) annoyed by how much Zep stole from other artists. Plus, Howlin' Wolf's Killing Floor is just better than The Lemon Song. And even though it's well known that Plant lifted the lyrics from Whole Lotta Love from Willie Dixon's "You Need Loving," listen to The Small Faces cover of "You Need Loving" to see how much of the vocal delivery Plant stole from Steve Marriott. (Especially noticeable in the begging and at the end: https://www.youtube.com/watch?v=tp0jZ4BGuDw) I mean, yeah, Jimmy wrote an all-time killer riff, but come on Robert. OTOH, JPJ and Bonham are such monster players, I spent this listen just paying attention to them. Page is an excellent rhythm player and songwriter, but his solos ... meh. Ramble On is still great, though that verse about Gollum and Mordor is weird.

Well damn. This packs a punch. It's crazy hearing the sheer degree of sampling from back when sampling was a free for all. I get that artists should be compensated for their samples, but damn if we didn't lose something when we started forcing artists to negotiate deals for each and every sample. No one could afford to make this record today. Flava Flav's songs usually drive me crazy, but not on this one. They were much-needed breaks from the maelstrom attack of Chuck D. I didn't know this album going into this, other than a few of the hits, but now I think this is their best one. Minus one star for homophobia, though.

I thought this was pleasant enough, though the strings often got in the way of his singing. I prefer Pink Moon.

I'll confess that I wasn't able to fully give this my attention, but what I heard didn't wow me in the slightest. It just seemed like a grab bag of late 60s garage-psychedelia. Kind of surprised this was chosen for this list as there are better examples of this kind of music.

I love this album. It's so fun and inventive. It rocks when it wants to, and it lounges in a spacey, fantastic garden full of gnomes when it wants to do that. And then there's the epic adventure that is Interstellar Overdrive. I listened to this in a car full of people and one woman said the song made her want to gouge out her ears. I get that. To me, though, Interstellar Overdrive is pure bliss. Every band can't make a song like that sing. But Pink Floyd sure can. I'm only dinging this album a star because there are many three songs that are sub-par. The rest, though, are among my favorite Pink Floyd songs. And yeah, lots of people don't like the Syd Barrett era. But I really do.

I did not care for this. Not a fan of Southern rock. I especially did not care for that one throaty guy's voice. The one song about George Wallace was interesting.

Not a fan, but at the same time, damn. Dude had so many hits on this thing, you gotta hand it to him.

Yeah this is a good one. Funny, I played it for Sadie a few months ago and didn't care for it as much as I did back in college when this was on constant repeat. But today it hit just right. It's not quite a five, perhaps, but the great ones are among his greatest. Life on Mars might even be his best song ever, which is saying something.

I loved this. Her energy and attitude are fantastic and the groves are fun. Yes, it's old school rap, so the sampling isn't terribly inventive and her bars aren't all that sophisticated, but whatever. I just dug her whole vibe the way I dig early rock n roll. I had this playing at a BBQ and it worked just great. Maybe not quite 5-star worthy, but an easy 4 for sure.

I didn't care for this when it came out. Scratch that. I didn't care for Bono when this came out. I still don't. But man, the hits truly are astounding on here. And so are some of the album tracks. But it's also two tracks too long, and when it misses, it makes me want to slap Bono upside the head. Still, I enjoyed this more than I thought I would. The Edge's sound is so epic here.

This was (and may still be) my least favorite of Jimi's three studio albums, so I expected to give it a 4. But damn if it didn't just blow me over and make me smile on the way down. Musically, these guys are just awesome: inventive and fresh and fun. (Noel might not be the most exciting bass player ever, but he certainly doesn't get in the way, and his down-the-middle approach gives you something to hold on to while Jimi and Mitch go off.) Unlike in his live shows, this isn't Jimi noodling endlessly next to two other guys. This is a group effort, and the arrangements highlight that. I mean, for this guy being so famous for his guitar playing, there aren't very many guitar solos on here. And Mitch Mitchell is just one of my favorite drummers ever. A lot of these '60s drummers were inspired by jazz drummers, and with Mitch you can really hear that influence. His drumming keeps things light, groovy, and ethereal, but he sure as shit can rock, too: e.g. "Fire." I also love the album's stoner aesthetic and Jimi's goofy lyrical and vocal approach. He just seems like a cat you wanna hang out with. If I have a complaint, the way the instruments are panned in the mix is definitely awkward. I do appreciate how it took producers a few years to figure out where to place everything in the stereo spectrum. Sometimes it can be fun to hear the drums on the left and the vocals on the right instead of in the middle like everything is today, but on this album I found it more distracting than fun. I've also never cared for "Hey Joe." But I didn't let those two things bother me too much. With these albums, I try to ignore the cultural/influential significance because I guess I've taken this whole rating system to mean, "how much do I actually like listening to this album?" And I loved listening to this one. I always liked it OK, but on this listen I loved it to pieces. The hits are great, but the ones that really wowed me this time around were the title track and "Third Stone From the Sun," with that last one holding my interest way more than it should have. So this gets a 5. But in terms of its cultural and influential significance, there aren't very many debut albums that were as important and blindingly original as this one. No wonder Bowie devoted a whole album to Jimi, as he really did seem to come from outer space.

I knew nothing about this band, nor have I heard the Arctic Monkeys, so this was a totally fresh listen for me. Sounds like a cool mix between Love's Forever Changes and a James Bond soundtrack. I dig it. I was unable to listen to this via Prime, so I had to sneak it in over YouTube, which doesn't allow for the best listening experience, but I really liked what I heard. Will keep an eye out for more from these blokes.

Yeah, this just isn't for me. The two hits are really great. Brings me back to 4th grade. But other than that, meh. And "Let Me Put My Love Into You" is super rapey.

This may be the worst of the "great albums" I've ever heard. It's honestly terrible. Strange Brew is a'ight, but it's downhill from there. I've never cared for Sunshine of Your Love, but maybe that's just me. The lyrics are hot garbage, the production lame, the songs are often just plain silly (not fun silly (aside from the last tune) just pretentious silly), and Jack Bruce's voice gives me a headache. But their worst offense is that they're fucking boring as hell. Even the hits are leaden affairs. God they're so dull. And also, fuck Eric Clapton, that white supremacist POS.

I owned this album back when i had CDs and went through a massive Sinatra phase, but until today I had never listened to the whole thing. It is definitely a lot to go through. Frank's torch songs have never been my favorite. But I don't know, today it hit differently and I was swept away by the incredible arrangements and his fantastic singing. He really does make singing sound easy, but these are tough songs to sing well. I was also struck by how hard these must have been to play, with seldom any instruments providing a pulse. To think these were all recorded live is quite something. Anyway, this is a great album, though it will never be a 5 for me in terms of listening to the whole thing. Also, it could have been two songs shorter. (P.S. Mamas and Papas do a great cover of "Glad to Be Unhappy")

I find it hard to care about the narrator of these songs. And the music isn't doing it for me, either. And it's too long. Other than that, awesome.

Whiny, inauthentic, overproduced frat-boy crap.

It's been ages since I listened to this, other than the title track, and as side one was playing I wondered why I didn't listen to this album more frequently, as every song delivered on every level. But side two kind of dragged me down a bit. So it's a 4. But damn, when it's on, it's on. Inventive and fun arrangements, lyrical solos, great drumming, cool bass lines. Side one gets a 5, and I'll definitely be listening to that more frequently.

My usual way to listen to these albums (while walking) wasn't working for this one, so I did what I think I was supposed to do and that was to put it on in the background while I worked. It was nice, though I often found the music more distracting than ambient. I don't know. Maybe I was doing it wrong. In the end, I liked it OK, but I think there are better ambient albums out there, like Avec Laudenum by Stars of the Lid.

Well slap my ass and call me Sally. This album bowled me over from the first note. Beautifully produced, wonderfully bizarre chord progressions, bold vocal choices, biting lyrics, and it was all over too soon. The last song wasn't my favorite, but whatever. I loved the rest of it. Am I becoming a Moz and Smiths fan? Who even am I?

Before today, I only knew their first album, which is a straightforward—if frenetic—ska album. I was not prepared for all the weird places this one went. Some of the songs were truly unclassifiable, which is noteworthy, if not particularly rewarding. I'm not quite sure it all held together, though I applaud the effort.

I'm not a big blues fan. I find the genre a little too simple and cliche-ridden, and too cluttered with wanna-be's. But there are exceptions: mostly Howlin' Wolf and Muddy Waters. Their brand of the blues is down and dirty, witty, honest and tough. They're the real deal and their gritty performances more than makeup for the formulaic chord progressions. I'd heard this version of Mannish Boy before but never knew that it was from '77 or that it featured an all-star cast of blues legends on Waters' comeback record. Not every song rise above the genre's limitations, and by the time I was deep into side two I was getting a little tired of the whole thing. But damn, when it cooks it broils. That harmonica player is the best I've ever heard. His tone was immense, over-driven like a '60s garage band guitar. Johnny Winters is a beast of a guitarist, adding just the right touch to every song. (I especially loved that one acoustic number.) And that drummer so far in the pocket it's a wonder he wasn't covered in lint. Hot stuff, and I will be listening to about half of these tracks over and over again.

It's hard not to like this. It's also hard to get too excited by it. I can see popping this on in the background for a party, but I think even there it would get old after the third song.

Perhaps with more listens this might grow on me. I dig that they're mixing things up, but I feel like the melodies aren't quite there. This really works against them in the songs where they're channeling Bowie. Bowie had an amazing talent for instantly catchy melodies. But this isn't bad stuff. Again, maybe it'll grow on me. Then again, it's an hour long, so I'm not super keen to dive back in. What was it about albums from that era where they all had to be so long? Freedom of the CD, I guess?

I liked this OK. It's fun. It's also a little monotonous. It's also nothing special? That Under the Boardwalk Cover is definitely nothing special. I don't know. I feel like a curmudgeon, but I also feel like this doesn't belong on this list. 2.5 but rounding down

i was familiar with three of these songs beforehand and always liked them, but for some reason never took the plunge to listen to the whole album. I'm glad I did. In spite of its bleakness, there's humor and warmth. The arrangements are sparse, but inventive. The album kept surprising me. I can see why a lot of people don't like Will's singing, but I dig it, even when it meanders off pitch. Johnny Cash's cover of the title track is great, too.

This is a fun record. The hits are all amazing. Some of the deeper cuts are solid, too. Because Buddy is such a well-known songwriter, I expected more Holly originals on here. The ones he didn't write are definitely weaker. (Actually, I'm amazed at how many Buddy Holly songs were either co-written or written entirely by other members of his band, especially Jerry Allison. (Although a gifted producer, Norman Petty didn't actually co-write anything, he just added his name to the credits, as was the style of the time.)) Side two suffers a little from dated arrangements, but ultimately, it's a good album, one that influenced all the greats who came after. Also, it's interesting reading about the Crickets band, how long they lasted after Buddy died and how many musicians they backed up, including Clapton.

Cue my normal rant about how the earlier versions of these songs were better. The performances on Peter Tosh's two songs are especially leaden compared to the earlier recordings—so much so that I can't understand what they were thinking. But overall, this is enjoyable stuff.

I dug this more than I expected too, especially given the cheesy Casio-tone production. But I don't know. It grew on me. I was familiar with Everybody Knows and Tower of Song but the the other tracks like Jazz Police and I Can't Forget won me over more. Some of these songs, like the weirder ones on that Specials album from the last week, were simply unclassifiable. That's mean feat. Maybe a 4 is too much, (though the lyrics are definitely at least a 4) but I kinda dug the groove on this. Every track isn't great. The first two didn't really work for me. (The background singers kind of annoyed me on those.) But when it works, it works and sounds unlike anything else. So, kudos. You got me to like something from the '80s.

Take my review with a grain of salt, as this kind of music really isn't my thing, but overall I was underwhelmed. I often felt like the arrangements weren't serving the material. Ultimately, I think other bands do this kind of thing better: Yaz (Yazoo) has better vocals, New Order has better melodies, etc. I never realized that was Dusty Springfield on "What Have Done to Deserve This." Side two was the better of the two, IMO.

I haven't heard this in years; listening to it today was like catching up with an old friend. I'm no Clapton fan, but I do love this album. The interplay between his and Duane's guitars never fails to thrill. When one guy goes weedly-weedly, the other is right there with a melancholic counterpoint. I also love the interplay between Eric's and Bobby's vocals. (Bobby Whitlock is the secret ingredient on this album.) Special shout-out to Eric's pinch-harmonics on Bell Bottom Blues, and that coda to the title track is just pure gold. Key to the Highway could be excised, and Tell the Truth and Have You Ever Loved a Woman overstay their welcome a bit, but other than that, this album is lightning-in-a-bottle magic for me. But also, Eric Clapton is a bell-end.

Easiest 5 stars I've given so far. I mean, hell, even the damn cover is 5 stars. The first side is merely outstanding, but that second side is transcendent. All Beatles albums are great, but this one truly feels like a gift. Everyone is at the top of their game here. The bass playing, the drumming, the harmonies, the songwriting, Billy Preston... I mean, if this isn't a 5-star album, I don't know what is.

I loved their debut EP, but when this came out, I felt like it didn't quite fulfill their potential. And I still feel that way (though in hindsight, their debut isn't quite as strong as I originally thought it was). This album has energy for days, and it's a lot of fun. I dig them as a band. Their music is great for shuffles and for soundtracks. I can't imagine being lucky enough to have Karen O as a singer. Then again, she, like Johnny Rotten and Perry Farrell, is so iconic and wild and punk and powerful that she totally overwhelms everyone around her. It's almost more of a sound effect than a voice. And that's great as long as the material is there, which in this case it sometimes is (Maps, especially). But on the whole, I feel like these are memes more than songs. God bless 'em, though. Some bands are albums bands and some are singles bands, and the Yeah Yeah Yeahs are a fantastic singles band. One song is all it takes to have you pounding on your steering wheel, ready to conquer the grocery store. Charge!

hoo boy this is a lot. A lot of sadness. Infinite, you might say, so plus one for truth in advertising, i guess. but damn, 2 hours is a lot of Billy Corgan. There are good songs on here: 1979, the one about Cupid, that James Iha tune, the last one, a few others, but overall, it was just too much. too much to cover in one day, certainly. maybe if i had more time with this i'd dig it more. also, i didn't love the production. they're clearly rocking the shit out of some of these songs but it doesn't sound nearly as massive as Siamese Dream. So, this is a 3 but I could see it maybe creeping up to a 4 with more time.

That was all right. Too many tepid mid-tempo numbers for my taste, but i liked it more than I expected to. Some nice slide playing by Eric. Stray thoughts: 1. Never realized before today that he copped the chords from Stairway for Let it Grow. Still a nice song, though. 2. Always been a fan of Motherless Children. 3. Hand Jive gave me serious Grateful Dead vibes. I'm still recovering. 4. And say what you will about his cover of I Shot the Sheriff, it helped spread the word about Bob Marley, so that's cool.

Man, I was psyched to see this one show up today. Twenty years ago, I heard Bat Macumba on one of the Nuggets compilations, and it was such a standout track, I had to go find more by these guys. Eternally glad I did. I just love their joyful, chaotic psychedelic madness. Great songwriting, creative and fun arrangements, nice harmonies. I love the crazy left turns these songs take. Great stuff. All Os Mutantes albums are great.

I never quite got the hype around this one. It's all right, but it's also kinda boring? I don't think the noise experiments work very well, and this is coming from a guy who likes his noise. There are a couple of ok songs, but ultimately, I couldn't wait for it to end. love the cover, though

yeah, this is a good time. i was wondering why i like this but not the later pop-metal bands like Def Leppard, Motley Crüe, Bon Jovi, etc. I guess it's that these guys don't take themselves seriously? also, i love the harmonies and the goofiness of it all. plus, they're badass musicians. Having listened to Louie Prima a few months back, that album puts a lot of this album into context, given that DLR would later cover Just a Gigolo. Or maybe I'm imagining it. But I don't think so. There's some old-school showmanship and song structure at the heart of these songs. Also, our recent listen to Yeah Yeah Yeahs and how Karen O is such an overpowering lead singer... the same is true with Mr Roth, whose personality just leaps off the vinyl. But in this case, he's got a band who can keep up with him. So this was a fun thrill ride. Got my day off to a nice start. (And other than the hits, I'd never listened to it before, so that was cool.) P.S. I've never loved Eruption. There's cool stuff going on there, but musically, it's a disjointed mess. A fun mess, I guess; but I digress.

god no. and yes, i get that EDM isn't meant to be listened to on your headphones while walking, but i really don't understand what makes this any different from other EDM albums. (also, i never had any strong feelings towards EDM before this exercise, so...thanks?) DP does have a very good album in Random Access Memories, though.

I loved this. Fired me up. I've enjoyed every song I've ever heard by MIA, so I'm kicking myself for not checking out this banger before.

Boy, I haven't listened to this in ages. Better than I remembered it. Lots of hooks. Great bass playing throughout. Overall, a solid set that doesn't overstay its welcome. Is it something you need to hear before you die? Perhaps not. But that's not Traffic's fault.

Yeah, Southern Rock isn't my bag at all, but it is an impressive debut. Freebird is fun, maybe a minute too long.

I've tried getting into The Jam before as they always seemed like a band I should dig, but somehow they never clicked with me. Well, today they finally (mostly) did. Every song didn't grab me, and I liked the slower ones better than the faster ones. The Kinks cover seemed pointless, sounding exactly like the orig. (What struck me today was how much Robert Pollard of GBV fame has been trying to sing like Paul Weller. In fact, if I didn't know better, I would have sworn that some of these songs were by GBV.) Anyway, good stuff. Might even grow to like it more.

Sunday Shining got my attention as it was a rather interesting cover/interpolation of a minor Bob Marley tune. But the rest of it? Cool sounds, but I really didn't find his lyrics interesting, nor do I really see why this is a must-listen-before-I-die.

I never realized how many of these hits that were so ubiquitous in the early '80s were from her debut. Impressive to say the least. And I dug the album tracks, too, though not the last one so much. Overall: good stuff and I grossly underestimated her talent when this came out. Then again, I was 13, so perhaps I can be forgiven.

"Hot For Teacher" is one the most trilling songs I've ever heard. The band sounds like they're tumbling off the rails the whole time, and every time I hear it I swear that this time they're going to crash and burn. Astounding. As for the rest of the album: Panama is still pretty fun. Jump is all right. It's catchy, there's no denying that. I'll Wait is cool. The rest of it, though? Meh. I do like that it clocks in at 33 minutes, though. I wish more albums were in that sub-40-minute range.

Given some of the reviews of this album, I went into this hoping I'd discover a classic proto-metal album. I wouldn't say my hopes were especially high, exactly, Let's say I had countertop-high hopes. The moment it started, however, was the moment I hoped it would end. This is clearly a transitional album for these guys, and maybe if you're a DP fan, you might dig this, but honestly, I just found it embarrassing. All of these guys have chops, but none of them seem to know what to do with said chops. Especially Ian Gillen. Deep Pass.

OMG what a chore to listen to. I get that they were trying to do something different after their wonderful neo-Kinks efforts Parklife and The Great Escape, but this album was a misstep.

I dug the overall vibe of this, though I wish the songwriting was a bit more interesting. But for three guys, they sure make a fuck-ton of noise, which I can appreciate.

I saw these guys once in '92. I'd heard of Mudhoney, but didn't know their music. (On the plus side, a then-unknown band called The Flaming Lips opened up for them, and they were amazing.) The music was completely unmemorable. What was getting swallowed up by a mosh pit, getting kicked in the head by a flying mosher, and barely making it out of the pit with my glasses intact. Anyway, I've avoided Mudhoney's music ever since. So I was a little surprised that I found any enjoyment from this album (or EP) today. The songs for the most part lack any good hooks, but I did enjoy some of the guitar work and the energy was cool. Mark Arm, though, is completely lacking in charisma, nor does he really have the vocal chops to keep me interested. All of these songs would have been better if you simply you swapped him out in favor of Courtney Love. These guys really want to be The Stooges, which I can appreciate. But I don't know that they bring enough originality for that pursuit to be worthwhile. This is more of a 2.5 but I'm rounding down because I'm still annoyed by those moshers. Which isn't Mudhoney's fault, but fuck 'em.

i rather enjoyed this. I wasn't exactly sure what to expect, what with the industrial label being attached to these blokes and whatnot. I was startled by how varied the whole affair was, and yet there was definitely an overall aesthetic at work. Some of the tunes reminded me of Pere Ubu. Some sounded like "Revolution 9" meets Eraserhead. More surprising still, I found myself nodding along with some of these tracks. In fact, I was openly singing Blood On the Floor for several minutes after the song was over. I say, bravo, Throbbing Gristle!

I practically wore out my copy when this was released. Then I stopped listening and haven't really revisited since. It still holds up, though I'm not quite sure it reignited a spark to put this back into regular rotation. (Not that I have time for a rotation with all these daily albums coming at me.) Anyway, this is a confident and astonishing debut. They've got hooks for days and the arrangements are creative and memorable. I'm not sure why I'm not connecting with it like I used to, but that's on me, not them, I think.

I've never connected with this one. I dig it in theory. He could have turned in Ziggy Stardust part two, but he went stranger. So I respect the artistic choices he made. I just don't love the songs. Lady Grinning Soul was new to me as I don't think I'd ever made it to the end before, and I liked that one. Panic in Detroit is still great. Cracked Actor is cool enough. And I dig how weird the title track is. Never cared for The Jean Genie. Why he felt the need to include a cover of Let's Spend the Night Together is beyond me. The rest of the album just seems kind of unmemorable. That cover is a 5, though.

I was hoping today would be the day I finally got into New Order. It was not.

I enjoyed this way more than I expected to, which is why this project is so much fun. The title track is such a banger and many of the other tracks were great, too. I would have given this a 4 but I think it's about 3 songs too long. Also, I Want Your Sex really didn't need part II. But thumb's up for this album. The '80s production actually worked in its favor, and the arrangements were, for the most part, pretty lean and awesome. He's a good singer and the harmonies were pretty tight and interesting. Glad I got the chance to give this a listen.

There was a lot o enjoy about this one. That one tune with the "Taxman" bass line really distracted me. Frankly, so many of that guy's bass lines were McCartney rips offs, I'm surprised he didn't get sued. But the rest of it was pretty damned solid. (And I'm still surprised no one has ever mentioned how much Guided by Voices is trying to sound like The Jam.)

This didn't work for me at all. I can see how it may have been historically important at the time, but the arrangements are really dated, and after a few tunes I was tired of the whole affair. I'd rather listen to the originals.

I dug this, though it made for a heavy listen. But the dude went out swinging. Glad I got to hear it. Might even queue it up again.

I never connected to this the way the rest of the world did. I always found it kind of silly, and today was the first time I checked out the lyrics, which are even more ridiculous than I thought. Billie Jean slaps, though, but I'll take Off the Wall over this every time.

On paper, this seems like a home run for me. Noisy guitars, aggressive drums, vocal harmonies. All things I like. But boy did I struggle (and fail) to get through this. I just couldn't grab on to the melodies. The production seemed frail. And the vocals really had no personality or life in them to the point where I groaned any time they started singing. I like shoegazer music, but I really did not care for this album.

I had a hard time forming a coherent opinion about this one. Some of the songs were pretty great, others took some interesting artistic swings that kind of missed the mark (but hey props for trying), while most of the others seemed kinda bland. My daughter bailed on this album 3 songs in because it was too '80s for her (and she likes '80s). It's a highly melodic album, which is a plus, and definitely old school, which worked on some songs. Unsure how I feel about it. Might have to revisit.

A solid debut. That opener is still fantastic. I've always liked Guinevere, Wooden Ships, and Helplessly Hoping. The rest of them impressed me less. Also, as famous as they are for their harmonies, Nash's shrill high notes have always grated. The bass playing by Stephen Stills is superb throughout, often stealing the show, especially on Suite: Judy Blue Eyes. Dude was just so damned talented, it's insane.

yeah this is a good one. Golden Years is one of my favorite Bowie songs. That groove is undeniable. I found myself dancing and clapping along while driving my daughter to school. TVC15 is also cool. I wasn't as familiar with the rest of the album, but I dug it. I like how Bowie's melodies drift along into the ether. Having said all of that, 8 Bowie albums is a lot.

What a joy this is. Wish I could have been there. Although, it almost sounds like I am there, thanks to how this recording captures the crowd. If I'm going to nitpick, I do wish he mixed things up a bit more, especially at the beginning, but that's a small complaint. The guy has energy, charisma, and vocal chops for days, so I'm rounding my 4.5 up to a full 5.

Some days I'm just not in the mood for that day's album. Today was one of those days. I'm sure it's good, but I just couldn't connect with it. I really like Funeral, but this one isn't nearly as inventive. That's all I got. Three Arcade albums on this list is two too many. And I know that's not Arcade Fire's fault, but c'est la guerre. That's French for "My god, this singer is boring me to death."

This was my first time hearing this and I dug it. I liked its quietly aggressive vibe. Lots of interesting rhythmic things going on. Great lyrics. The strings on that one tune were amazing. Is it a 5? Maybe, but today it hits like a solid 4 with the potential to level up.

I don't know. I never connected with this band. There's so little going on in these songs for me to get caught up in them. I prefer Young Marble Giants. Also three Kraftwerk albums seems excessive.

1 hour and 5 minutes is, by any measure, an unhealthy amount of James Hetfield. Don't get me wrong, I'm not a hater. He's an astounding rhythm guitarist. And his delivery of the line, "Hush little baby, don't say a word," is comedy gold. I'm just trying to urge moderation. So kids: If you want to listen to this album, do so in three-song increments. In between doses, take a half-hour break. Go for a walk. Listen to Taylor Swift or The Beatles. Remind yourself that joy exists. Following this advice will make your listening experience much more powerful... and no one will get hurt in the process.

It's pretty good. A handful of solid, even great tracks, a handful of OK ones, and a couple that had me scratching my head over the creative decisions. The band is in good form here, which is saying something since apparently, there was a lot of tension during the recording sessions. This list has 6 EC albums on it, which is at least three too many. This one seems like an easy one to cut.

I'm not usually much of a fan of Wu-Tang albums, but this was impressive. The production (by MF DOOM among others) was stellar. I hated the skits (which comes with the territory for WT albums), but the beats and the vocals were top-notch. It could be a 4, but the gangsta shit and all the casual misogyny prevents me from fully enjoying this.

I always think LCD Soundsystem is an EDM band, so I rolled my eyes when this showed up this morning. Anyway, I dug this. Guy's got a sense of humor. The songs have a little Talking Heads, Brian Eno, and Gang of Four, but I also picked up notes of Spoon and just a hint of blackberry. Anyway, it's fun, the songs are quirky and cool, and I hope to hear more from them. (I just looked back at my review of American Dream, totally forgetting everything about that listen. I gave that album a 1. LOL. I might have to revisit that one. Maybe I was just in a bad mood that day.)

This isn't my cup of tea, but it's solid for what it is. She has a pleasing, laid-back, jazzy voice. I like how restrained the entire thing is. Simple-but-effective arrangements. Solid songwriting. Nice covers of a couple of classics. However, I can also see people finding the album a little bland. And maybe it is, though it's a nice, chill listen for a lazy Sunday morning. Is it a timeless classic? I don't know. Does it need to be on this list? Probably not. I am a little surprised at how huge this thing was, given that there are dozens of albums just like it. But it's hard for me to find fault with the material itself.

I don't have strong feelings about this either way. S'alright. I could hate on it for being so consistently mid-temp-y and for Chris Martin getting into plaintive gear and staying there the whole time. But that would require effort. It's all right for what it is, I guess, though I shan't be listening to it again anytime soon. One song is OK. A whole album is too much.

Not sure if I've ever listened to this whole album before. Side one is excellent. Side two not so much. The End is cool and also ridiculous. Jim gets to be a little much on that one. As far as the band goes, they're amazing. Each one of them is innovative and distinctive. RK's guitar solos never disappoint—his bends always make me feel drunk, and his flamenco-inspired style is iconic. And I've always felt that John Densmore never gets enough love for his great drumming. He really makes The End work thanks to all his fills and his dynamics. What a great sound they had, though their later albums would be better produced. As for Jim... I'm attracted and repulsed. He's a great frontman. He's also a lot. Some of his lyrics are amazing—not so much for their poetic value but more like memes that get stuck in your head for good. But yeah, his poetry can be pretty eye-roll-inducing. Whatever. I'd be thrilled if he were my lead singer.

Not quite sure I get this one. The second song was groovy. The Floyd cover seems more like a stunt than anything. The rest of it: there were some cool moments, but a lot of it sounded the same and some of it annoyed me more than entertained. I remember this when it came out, and I felt the same way back then. Seemed like more of a one-hit-wonder band than something worthy of this list. But maybe I just don't know how to have fun.

I love this band, but this album is overrated. The great songs are remarkable. But Sex Machine is boring and about 10 minutes too long. And "Don't Call Me..." has never been my favorite and the damn thing never seems to end. Five stars for "Sing a Simple Song", "I Want to Take You Higher," and "You Can Make It If You Try."

Yeah, this is great. It's not a 5 for me, only because of my own personal taste in music, specifically country music. But that's on me, not on Dolly, who is charming, witty, warm, caring, and sweet. Great performances by everyone involved. Great songwriting. Just a pro job all around.

This is just glorious music from beginning to end. Everything sounds great. That guitar tone is justifiably celebrated. Brad's vocals are legendary. The drumming. The hooks. The harmonies. The production. And "More Than a Feeling" is simply one of my favorite songs. I never get tired of hearing it. It had been a while since I listened to the whole album and I was stunned at how great every song is. What a debut. I'm amazed at how perfectly formed these guys were out of the gate.

Meh. I mean, as a collection of covers goes, it's all right. They do have some decent versions of blues and R&B standards (Mona and I Just Want to Make Love to You are highlights). Their original is cool. But as an album anyone needs to hear before they die... no. If these guys didn't go on to become The Friggin' Rolling Stones, this would never have made the list.

That first song makes me wanna roller skate. In fact, the whole first side is fantastic. I start to lose interest on side two, though, which is keeping this from a 5. I did their whole vibe here, which I think is more fully formed than on Maggot Brain. Fun stuff.

I'm of two minds about this one. On the one hand, this schtick wears thin pretty quickly, and his verbal mugging for the handpicked crowd is cringey. On the other hand, though, he's damn funny and his lyrics are evocative. Also, the musicians are on point. But overall, it's not my jam. I prefer the Swordfishtrombones-and-beyond version of Tom Waits. 2.5 rounding down just 'cause.

I love jazz, though big band isn't my favorite style. Still, there's no denying this music. It swings, it grooves, it lifts, it moves. The players are all amazing, and they're crushing it on this date. Also, I love that this kind of music exists. That there was once a time and a place in which music this joyful could have been made.

The first two songs are cool. The rest lost me. I've always wanted to like EW&F more than I do. They're just too easy-listening for me, and often too cheesy. Still, they do what they do pretty well, but it's just not my bag.

Ugh. God, what a chore to get through. I definitely was not in the mood for this today. I do enjoy their distinctive quartal harmonies, but damn that lead singer's voice is everything i hate about grunge. That coupled with the sluggish tempos and depressing lyrics. Yeah, I get that people dig this, but I really don't. I never how how to rate an album like this. Do I try and be objective or do I give it my own personal rating? Usually, I go the subjective route because this is how I personally react to this music and how likely I am to check it out again. Sometimes I regret doing this as it's clear I just heard the wrong album on the wrong day and I feel bad about it later. Today I'm going to split the difference. My personal rating is a 1 because I honestly couldn't even make it through the whole album. I get that people dig this, and good for them, but boy I really don't.

This was cool. A solid jazz album. Nice grooves, good musicianship. Totally solid. I'd never heard of Hugh Maskekela before, and i'll look up more of his stuff.

This was a great listen. Well-written songs. Amazing bass lines. Great singing and production. I've really been enjoying disco the past few years. I can't believe how great the genre is, and this is a choice example of it. Is it a 5-star album? Hmmm... maybe? But today I'm going with a 4 because not every song grabbed me.

Yeah, I mean, it's Stevie in the '70s. My only complaint is his lyrics are a bit heavy-handed. But damn, those grooves are undeniable.

I was surprised at how much I liked this, given that I've never been a Police fan. Side one is pretty meh. The songs were stranger than I expected them to be, especially given what a smash hit this album was. I don't know that I loved those songs, but I give them an A for effort. (Except for Mother, which is just terrible.) And maybe it's just because of context, but the hits were so much weirder than I remembered. Their arrangements are so counterintuitive, it's a wonder that they work so well as fantastic pop songs. The musicianship is top-notch, of course. Stewart Copeland is a wonder. And the production sounded amazing on headphones. So overall, an uneven album with hits that impressed me way more than I was expecting. I'm still not a Police fan, exactly. Not sure why. But that's on me, not them.

I've had this album for years but today was the first day I was able to get through the whole thing. It's a lot. And every song sounds the same. So, I wasn't sure I was going to be able to hang for this. But I don't know. I kind of dug it. By the fourth song, I just found myself engulfed in it and let it take me away. I'm never going to be a metal fan, and the lyrics—when I could understand them—left me wanting. But I didn't hate it, and there were definitely moments, like in the fantastic title track, where I got caught up in it.

This isn't my favorite Beatles album. It's not even in my top 3. Still, it's fucking Sgt. Pepper. Random thoughts: 1. Listening to the most recent mix. It's like I'm hearing the album again for the first time. Noticing all sorts of things I'd never heard before. 2. Speaking of the first time, I can still remember sitting in my parents' living room. I remember pouring over the vinyl album cover and listening to this and just having my mind blown. Even in the '80s, this still sounded cutting edge. 3. Side One still doesn't quite work for me, though Paul's bass playing is worth the price of admission. Goddamn, that guy is great. 4. "She's Leaving Home" is a song I love now but disliked for years. 5. Side Two is perfect. Maybe as good as side two of Abbey Road. 6. the melody line for Within You Without You is a marvel. I could write a whole article about it, but I won't. 7. The beginning of Lovely Rita is one of my favorite musical moments. 8. I was at a family reunion once and When I'm 64 came on the radio and every person in the family, from ages 8-80 started singing along, and for me that just cemented how fucking special these guys were. 9. Good Morning Good Morning is John Lennon's most underrated masterpiece. you could teach a college course just about the shifting time signatures alone. 10. A Day in the Life... I mean, come on. So much to say about it, but Ringo's drumming is especially stellar here.

At first, I was struck by how '80s this sounded. Really wasn't expecting that. Overall, this is OK. There were a few songs and moments that kind of swept me away, so that's cool. And maybe if I gave it more spins I'd be more into it. But at the same time, it all feels very safe and very much like other things I've heard before. So, right down the middle.

This is certainly a well-made album. Neil just isn't my jam, no matter how many chances I give him. I don't hate him, I just can't see what all the fuss is about.

One of the nice surprises with this exercise is that it's made me a Talking Heads fan. I already knew this album and enjoyed it well enough, but it's been cool to arrive here now that we've listened to three other TH albums, so I could hear it in context. I dig the Fela-Kuti-inspired-but-not-appropriated vibe they've got going on here. And I love the crazy guitar solo from Adrian Belew on "The Great Curve." That final track is menacing and dark and I'm so there for it. Great stuff.

I've always found Harris to be rather vanilla and this listen did nothing to change my mind. She's great in a duet, as she was on the Gram Parsons records, but as a lead singer, I don't love her approach. You can't fault her for her song selection (anyone who covers The Louvin Brothers is all right in my book), but I don't think she brought anything new to these tunes.

I don't know how to rate this one. I love the Velvets but this has always been my least favorite. First of all, it sounds like ass. Then again, I think making it sound "better" would actually make it sound worse. I was surprised at how much I was digging Sister Ray today, as it's never one I want to listen to, but it kind of swept me away. Anyway, I wish Loaded was on this list instead of this one.

That cover art is fire. The music's all right, I guess. Seemed kinda average, but what do I know.

One of the joys of this experiment has been rediscovering how much I love Jimi and his band. This second album didn't strike me as being as consistent as his first one, but the highs are higher. It's also a lot of fun. Once again on this album, I'm struck by the fact that for a guy who is famous for his guitar skills, he hardly ever solos. All of the best guitar work here is in his rhythm playing, which is consistently inspiring and creative. This album is also a real showcase for Mitch Mitchell on drums. What a great jazzy feel he had. Love it. Side two isn't quite as brilliant as side one, but the less-than-amazing songs don't overstay their welcome. More of a 4.5 than a true 5, but I'll round up because Jimi.

Little Richard has always been my favorite of that first class of rock and rollers, and yet today was my first time listening to an entire album of his. I'm sorry I waited so long. This is great stuff. And if the opening to Tutti Fruitti isn't what rock and roll is all about, then I don't know what is. Yes, every song is a 12-bar blues, and that would normally cause me to tune out. But he mixes things up enough that I never got bored. Then again, the album is only 30 minutes long. In terms of historical importance and influence, this is a 5-star album. I mean, probably half of all R&R was influenced by this album. As for a regular listening experience, though, this is more of a 4.

I dug this. Every song didn't hit home, but most of them did. They sounded like a nice blend of Big Black and Slint with some Greg-Dulli-esque vocals on top. I also enjoyed the instrumentals. This seems like an album that will grow on me.

I dug this. I only knew the title track, but the others did not disappoint. LL is a treasure to be sure. I love how each of these songs comes from the heart. Her vocal styling won me over, as well. And of course that Nashville production with perfect arrangements and impeccable musicianship brings this whole thing home. Man, the late '60s to early '70s was such a golden age of country music. The album Loretta made with Jack White, Van Lear Rose, is excellent as well.

A polarizing album, to be sure. I'm a Syd fan, and I don't know how I feel about it. To anyone who hates it or who dismisses it: I get it. These songs don't work the way "normal" songs do. And his performances often veer out past the bounds of what is considered "good" singing or guitar playing. And sometimes I find that thrilling, as in the case of Octopus and a few others, but it's just as often frustrating or even downright embarrassing. When he's at his best (especially during his tenure with Floyd), it's like he's finding new ways to be musical and to express ideas and emotions. And I love how quirky he is, the way I love The Shags and Daniel Johnston and other outsider artists. But when he's at his worst, which happens often in his two solo LPs, it comes across as either exploitative or inept. And sometimes, the very same song can hit me differently from one day to the next, depending on how I'm feeling. I get why people love him. I get why people dismiss him. I agree with both camps, and I find that interesting. A rating seems weird, so I'll just go down the middle with a 3. I do think it's worth hearing at least once, so I'm glad it's on here—because it could very well be something you connect with that you otherwise might not listen to—but it wouldn't surprise me if they left it out in future editions.

I love Pink Moon. This album is over-arranged. The 4th track was cool because it was stripped down. The other songs' arrangements tended to overpower Nick and his tunes.

I dug this. The band was pretty great. That dude's guitar tones were on point. And Janis, of course. I mean, damn. (It cracked me up, though, that the first voice you hear is some guy and not Janis-freakin-Joplin, but whatever.) I didn't always find the material that strong or memorable, though "Piece of My Heart," "Ball and Chain," and their cover of "Summertime" were obvious standouts. Overall, pretty great stuff. Can we talk about that racist R Crumb cover, though? Like, I dig R Crumb OK, but what the actual fuck with the two blackface depictions?

I'm no fan of the Dead, but a great album is a great album, and they brought their A-game on this one. Nearly every song hits its target (Operator falls flat for me). The damned thing is practically a greatest-hits album. The arrangements are all thoughtful and tasteful, the lyrics are cool, and the melodies memorable. What more do you want? Yes, there are a few moments where the vocals have me tilting my head a little, but honestly, that kind of adds to the album's overall charm. I already knew this album before today and I figured I'd probably give it a 4, but today as I listened to it on my headphones during my morning walk, it simply swept me away. Thumb's up, guys.

Two standout tracks, (How Can I Be Sure and the title track). The rest of it had all the right ingredients for greatness: interesting arrangements, quality performances, etc. but they all kind of missed the mark somehow. Lacking inspiration or something. Maybe just the songwriting was lackluster. A for effort, though. I liked that every song sounded different. Also, the lead singer went over the top on A Place in the Sun, which ruined an otherwise decent version of the song. (David Isaacs did a fantastic rocksteady version in '68.) But I like that we got served up a slice of '60s pop music that isn't rock. The kind of stuff The Four Seasons were doing (only they did it better, IMO).

One thing this project has made clear to me is that, Black Sabbath notwithstanding, I'm just not into metal. There have been a few albums here and there that I've liked OK, but overall, my problem with the genre is that every song on any particular album just sounds the same to me, and overall, I just can't take the lyrics seriously. And those complaints were mostly true for this album, too, so I found myself struggling to focus. Except that as the album went on, I kept noticing things that kept pulling me back into the music. I kept saying, "Oh that part's cool. Nice guitar tone there. Oh, that was a cool rhythmic bit. Nice change-up," etc. etc. Enough so that I'm sure if I gave this album a few more spins it would win me over. Except of course that I really don't love the overall sound or ethos. All those double-kick drums pummeled me into submission. Frankly—and maybe this is heresy—but I find that this kind of metal just doesn't rock the way that, say, Heart's "Barracuda" does. It's just a lot of noise with a few very cool moments. But although this album didn't totally work for me, it did pique my interest enough to do a little research into the band, and then I wound up checking out a few songs from some of their other albums. Roots—an album that I now know is also on this list—is a way more interesting album, filled with Brazilian rhythms and instruments and that album grabbed me immediately. So anyway, this album is OK—possibly even great if you're into this kind of music. I'm glad I heard it, and Sepultura is now on my list of bands to watch.

I definitely did not appreciate these guys enough when this came out. Then again, I was 12, so maybe I can be forgiven. This thing cooks. It's weird and funky. They wear their Roxy Music influences on their sleeves and I'm so there for it. I love the effect they put on Simon's vocals. I wonder what it is. And then there's John Taylor's bass lines, which are stellar. (Also, TIL that the three Taylors are unrelated.) A strong, possibly even great great, pop album.

Guys, it's Zeppelin IV.

I really wanted to like this. And I did. Until about halfway through the first song. I find these songs lacking in hooks or even melodies. They feel improvised, and not in a good way. Also, her voice isn't compelling. Maybe it's me. Maybe I'm not in the right headspace for this. Totally possible. But based on today's listen, I can't recommend it. To quote my daughter, "It's vibey." I'll give it that. But I want it to be vibey and memorable.

I suspect this album might grow on me. At first, I thought every song sounded too similar. I even checked once to see if we had moved on to a new song. (We had.) She changed things up a bit as the album progressed. Also her singing style seemed to change, too, which was a nice relief, as she was over-emoting a bit too much for my tastes. Anyway, the song craft was pretty decent, and a few songs leapt out at me. Not sure if this is 4-star territory for me right now, but like I said, given enough spins, I might grow to love this. I love the album cover, though.

This was pleasant enough, though I wasn't crazy about the guy's voice. Not sure that "pleasant enough" warrants inclusion on this list, but whatevs.

Yeah, this was great. I had a copy of Dookie when it came out, and I liked it OK for a month or two, but I got bored of it. By the time this album came out, I was like, "Really? Green Day? How are they still a thing?" And I remember my boss Tony telling me to check it out, but at the time my head wasn't in the right space for it. Anyway, I knew and liked a couple of tunes going into this, but I'd never listened to the whole thing before. Glad I did today. It's ambitious, well-performed, -arranged, and -written punk pop. Dude really has a gift for catchy melodies, which I am always a sucker for. This sounds like an album that will reward multiple listens, and I will be there for them.

My daughter's been into goth lately, and she has turned me on to some of the gems from this period, including some of the songs from this album. Today, though, was the first time I listened to the whole thing. This is top-tier I love everything about it. Her singing is so great. The band is fantastic. I love the production, the drums, and the guitars. I love how emotional and weird intense and unrelentingly harrowing it is, and I can't wait to go around again. 5/5

This was cool. I thought I was going to be annoyed by the intros, but they deepened my ability to appreciate the music. Is this the kind of thing I would listen to on the reg? No. But it was chill and often exhilarating.

I had never heard of this or the band before. I liked it. Such a great choice for this project. Catchy songs, well performed. I would have loved a bit more treble in the mix, though, as I felt like there was gauze over the whole proceeding. Other than that, this was solid.

I confess I was unable to give this a close listen, but what I heard was cool. It's chill. Cool sampling. It's very old-school. Reminds me of A Tribe Called Quest. It's not the most adventurous or ambitious rap I've ever heard, which is what I normally gravitate toward, but it's good for a chill listen. Or as background party music.

A whole lotta meh.

I'm not much of a Neil Young fan, but this was solid.

i had the hardest time getting into this one. I think the mix was really throwing me off. Also, it sounded very disjointed. but by the end, it was starting to click. I even went back and re-listened to a few tracks and songs that i had previously struggled with started making more sense. so perhaps this would creep up to a four for me if I revisited it at a later date, but I'm unsure when that might be. Anyway, i was glad to have checked this out, even if i wasn't in the right frame of mind for it.

I'm pretty ambivalent about Steely Dan. The musicianship is top-notch (I especially dug the drums on this one), and the songs are catchy and the lyrics are interesting, but the overall feel I get is cold and sterile. And also kind of rapey.

I like Djr, but a little goes a long way. It says something that I owned this album and never made it all the way through it before today. When that last track came on, I was excited for some acoustic Syd-Barrett-style music, but then it went all haywire. i wish they had done more acoustic, just to break up the sonic assault. Anyway, a couple of bangers on here and some cool tracks I'd never paid attention to before, but it was all a bit much. I saw them live once. MBV opened up for them. Loudest show ever. My ears were ringing for three days. Like I said, all a bit much. (MBV was great, though!)

This was my first time listening to an entire EJ album. While I enjoyed some of the songs, I got tired of him repeating the same chord patterns. Also, I've never been a fan of Bernie's lyrics. When they work, they work well, but boy does he have a lot of clunky lines, and that Indian Sunset song is especially cringey. The two hits are fantastic (even though Levon's lyrics aren't). They sounded so good this morning. Like they could have been released yesterday and no one would have known. The arrangements on the other songs were spotty, though. The drumming was often thrilling, but I was kind of surprised at what an average piano player EJ is. He does the same tricks over and over again. Also, the strings were often distracting. And those chorus singers on the penultimate song were kind of embarrassing. I really wanted to like this more than I did. Maybe I'll like Goodbye Yellow Brick Road more.

I remember what a breath of fresh air this and other grunge albums were back in the early '90s after years of hair metal dominating the airwaves. But boy did I sour on this genre pretty quickly. Objectively, these are solid songs, well performed and arranged and all that. The lyrics are pretty cool, and Eddie has a real gift for melody, which is always a plus for me. "Jeremy" is a truly exceptional song. Killer guitar riff, and Eddie's melody is so unusual and un-intuitive that it shouldn't work, but it sticks with you the moment you hear it. (And the song's message is powerful.) So there are moments of brilliance on here. (Black was another tune that grabbed me on this listen.) Boy man oh man do I dislike his vocals. I can't stand the way he pronounces things, or his extended melismas. And when he holds notes—especially low notes—I don't know that they're actually flat, but goddamn they feel like lead pipes landing in my lap. I just can't take him. And although the band is solid they're nothing special. Plus, some of the songs go on way too long. So, yeah. There are a few PJ songs I dig, but overall, please no.

I struggled to have feelings about this one. A rating seems arbitrary, so I'll go right down the middle, even though there are 3-star albums I liked more than this.

My review of the original, six-song LP: Goddamn this is some ferocious shit. I love how all four guys are on lead instruments. They are a true jazz band in a way that their rock contemporaries weren't. They listened to each other and responded and changed direction, and each live performance was different. And before you say, "What about the Dead?": No. Just no. I know no one would ever rank Pete Townsend as the greatest guitarist ever, but I'll take him over your Claptons, Hendrixes, etc. as a live guitarist every single time. Why? Because he doesn't just go weedly-weedly for ten minutes. He uses dynamics and drama and composition to keep things interesting. Also, I love how goofy these guys were. They could rock with the best of them, but they were also funny and fun; qualities profoundly lacking in many groups from that era. My review of the Expanded version, which is the shortest version I can find on streaming services: I love it, especially because you get great versions of their early goofy hits, but good lord that's a lot of rawk.

I had never even heard of this before today and enjoyed its eclectic approach. I didn't love the vocal performances so much (I didn't know until sitting down to write this that that was Pharrell), but I liked the Zappa-esque and George-Clintonesque goofiness. And the songs were well written, too. So yeah, a perfect album for a list like this. Glad I heard it.

Each song is pretty good, with a few being very good. but goddamn, i can't take a whole album of this.

This seemed really exciting at the time. But there's a reason I haven't spun this in nearly 30 years: it's too much style over substance. he is a good songwriter, but he didn't step up to the plate on this one. His next one, Mutations, is fantastic, though.

Good recordings. Totally not my bag.

I was looking forward to this one. I knew Brimful of Asha but had never heard anything else by them. Overall: I kept waiting for the album to kick in. This is one of the most disjointed records I've ever heard. Seems like a bunch of outtakes and backing tracks. The few "actual songs" were OK, I guess, though I found his singing more distracting than charming. Bummer.

This was dated even back in 1990. After listening to this, I popped on Public Enemy's It Takes a Nation of Millions—an album that came out two years before this—just to compare the two ... and, yeah, it's no contest. PE still sounds fresh. LLCJ's flow and beats are so basic and repetitive it's painful. There are so many more interesting hip-hop albums out there that I don't see this as a necessary listen.

A solid set of standards, arranged and performed well. What's not to like? Plus, it's Willie. Some of these are my favorite versions of these songs, especially Blue Skies. And I don't know why, but I've always gotten Christmassy vibes off this album. Plus, this album makes me think of my grandmother, who adored Willie. So bonus points for that. Thumb's up.

I struggled to have strong feelings about this one. Seems like an easy album to cull from the list. There's nothing goundbreaking or particularly interesting happening here. At the same time, I didn't object to anything either. Girl is a good tune. Overall: meh.

Seems like an odd album to include here. Wasn't really getting anything vital or interesting from this. It was OK but hardly seemed worthy of this list.

I'm traveling right now and so I was unable to listen to this closely. having said that, the production on this album was a bit distracting. but i would have liked to listen more closely.

Great album, one I've enjoyed many times. The performances are fantastic. That close harmony between her and Rawlings is special. Also, I love his guitar solo on I Wanna Sing that Rock and Roll. I remember playing for my parents once, and they could not stand her singing, which shocked me. They both thought she was flat. I still don't quite understand that comment, but I thought it was interesting that they instantly had the same opinion.

This guy is the worst professional singer I've ever heard. And the music. Even when this was new it sounded dated—like someone just got a new Casio for Christmas and wanted to try out all the presets. I still can't reconcile how these dudes were in Joy Division, a band in which each member brought something new and exciting to their instrument. How they went from that to this is confounding and depressing.

Overall good stuff. Not sure I'd return to this, though a couple of these songs were flat-out bangers. It's more like a 3.5, but not feeling like going up to a 4.

Never been much of a Bruce fan, but I enjoyed this.

I liked the other Spiritualized album (Ladies and Gentlemen We Are Floating in Space) much better. On this one, I think they're still finding their voice. It's OK, but I would cull it from the list.

Yeah, this was pretty badass. The first time I heard this was in college when I was first getting into fusion. At the time, though, I didn't care for this album. Today's listen was a revelation, though, and I honestly don't know why I never tried revisiting this album before.

Side one is five stars. Iconic songs and performances. Neil's lyrics are awesome. It's amazing and fun and I love it. Things go south a bit on side two. The compositions aren't as strong, and the band's prog tendencies get a little much for my liking. But damn, when it hits, it hits as hard as any album.

Sexy Boy has long been a favorite and one I play often. The first track is a banger, too. Love their bass tone. The rest of it, though? Meh.

Before today I'd only ever listened to their awesome Singles Going Steady compilation. This was solid, verging on great. I think The Buzzcocks are better when they let their poppier, more melodic side shine through, though even their more straight-ahead punk songs were also cool. I think the album suffers a bit from the sequencing as the first several songs all sounded too similar, and I think side one needed some of the diversity found on the fantastic side two.

This was ok. I remember listening to it back in the day and being captivated by it for about a week or two before moving on and totally forgetting about it until today. It's charming, though, and the arrangements are cool. I think it's about 20 minutes too long.

I never cared for this phase of Rush's career. I do like prog, but I've never liked Rush's take on the genre.

Boooooooooooring

I feel like this album is what separates the true Zep fans from the casual listeners. I'm more of a casual listener. This one's never really spoken to me. I feel like all the elements are there but it's lacking the spark that makes their other albums so special. Some of the songs are great. Immigrant Song is about as great an album opener as there is. But overall, this one's always failed to impress. Today was no different. OTOH, it was nice hearing Zep songs that I hadn't already heard to death. But also, Plant's voice kinda grated on me this time around.

I'm glad this album is on here, even though I don't think it's great. But it's unique and it will scratch an itch for some listeners that they didn't even know they had. (No wonder Wes Anderson used These Days in one of his films.) Most of the songs on here are merely OK, but the gems are true gems. Plus, I dig the overall vibe, even though I think it overstays its welcome a bit. It's a very autumnal album. I get why people don't like her singing. I dig it, even though I recognize its faults. No, scratch that. I dig it because of those faults. Yes, she doesn't always hit the note, and her affect is flat, which doesn't always serve the material—at least on this album. But it's honest and there's a world-weariness to her approach that I dig. It's no wonder she was such an influence on the goth scene. I wish the authors of this book had also included one of her other albums on this list. Those are much more inline with her vision and more influential and much more interesting than this one. My personal favorite is Desertshore, which not enough people know about, and which is a striking and bold artistic statement that is still quite approachable. Rock on, Nico.

I'd never heard of this guy/band before today, so that was cool. I'm not quite sure what to think about it all, which is also cool. It's very theatrical and glam. Some of the songs were too boogie-woogie for my tastes, but the standouts were ... something. The title track is harrowing and over the top and might even be a damned masterpiece. (It's a Jacques Brel song? Need to know more about it.) Faith Healer was cool and creepy. As was Last of the Teenage Idols. Gang Bang, though, ugh. I read the lyrics. They're not great. So yeah, this dude is over the top and interesting and I'm glad I heard it and I'd even be interested in hearing more, so that's cool. Glad it was part of this project. I wound up checking out some live footage of the band, and they are pretty badass. Overall, though, I think the album is uneven, hence my 3-star rating, but this is a more interesting 3-star album than many 4-star albums are, so that's something.

I like the song-based Zappa more than the instrumental Zappa. I can appreciate the musicianship, but there's something about his instrumental compositions that has never connected with me. They're too herky-jerky and theoretical for my tastes. Also, I find his version of jazz fusion too composed; but at the same time, when the band does let loose and jam, like on The Gumbo Variations, I don't love their groove. I was trying to figure out why I love Miles Davis' brand of jazz fusion, which is often crazier than the music we're hearing on this album. But I think it comes down to two things. Zappa's band's interplay (at least on this album) isn't thrilling, and the arrangements often irk me. I'm never swept away like I almost always am by Miles or like I was on the recent Herbie Hancock album. I'm more aware that these are great musicians than I am enjoying what they're playing. Anyway, I admire Zappa more than like him. I'm amazed and happy that he had such a successful career following his uncompromising artistic vision. It's just not a vision that I always dig. I prefer his albums with the Mothers.

I love Al Green, but this isn't his best album. Yes, the title track is perfect as is How Can You Mend a Broken Heart, but there's a lot of filler on here. (Granted, Al Green's filler is better than most people's killer, but still.) On this album, the arrangements are a little too busy, the production is a little thin, and the songwriting isn't as tight as it would become. I wish they had chosen I'm Still In Love with You or Call Me, which are 10/10 albums. Another great choice would have been The Belle Album, which he produced himself (and played acoustic guitar!). So, if your opinion of this album is that it's inconsistent, give those other albums a spin. This is really more of a 3.5 but I'm rounding up because the two star tracks on here are so damn great.

I'd never heard any of these songs before today, and I was surprised at how many of them I liked. (I wouldn't say I a Paul Simon fan, per se, but he's all right.) Things got off to a bit of a rough start with the lyrics on that Allergies song, but after that, I enjoyed myself. A few songs were a little too easy listening for my tastes, but the others were playful and/or thought-provoking. So yeah. Nice job. Maybe I am a Paul Simon fan after all.

The more of these albums I hear the more Plant's voice annoys me. Still, it's amazing how fully formed they were out of the gate. The blues numbers bore me, as is typical for white guys playing the blues, but their originals are pretty stunning. Zep will never be a favorite of mine, but when they crush it they crush it. This is really more of a 3-star rating for me in terms of personal enjoyment, but I gotta give it an extra star just because it really lays the blueprint for all of modern rock.

I don't think I was in the right headspace for this one today. I enjoy XTC enough, I guess, but they can often be a bit twee for my tastes. Such was the case with this album though I don't think i'm being totally fair. They try some cool things out with the arrangements and orchestration. And it's possible that it works in the songs' favor, but more often than not I found the arrangements distracting rather than enhancing. I think if I gave this another spin when my head was in the game I'd like it more. I do like Andy Partridge's vocals, and he can be a hell of a songwriter, but nothing really grabbed me today. Again, I suspect it's me more than them, but based on this listen I'm going straight down the middle. I will give it another spin at some point.

I don't know what it is, but I can't get into Jay-Z. I like when he guests on Kanye records, but solo Hova doesn't do it for me.

Excellent stuff. Over the top and wild.

Kid Rock is surprisingly multifaceted. He isn't just a gross, redneck, misogynistic edgelord, he also can't rap for shit.

I vaguely remember this coming out, me giving it a few spins, thinking it was OK, and quickly forgetting it. That's how I started off feeling about this one today, but as it went on, I found myself digging it. There weren't any obvious bangers like their big hit song "Alright" from their previous album, but there were a few that I rather enjoyed. Plus, they mix it up a bit, and their arrangements are pretty cool. I feel like this album might grow on me if I gave it more listens, so it's a 3.5 rounded up

I've always wanted to like this album but until today, whenever I tried to listen to it, I would always wind up bailing after two or three songs in. On paper, this should've been an easy home run for me: 60s garage rock (check), whimsical psychedelia (check), songs that suddenly change course (check). But for whatever reason, their brand of this music just never worked for me. Until today. And really, it wasn't until I got to the second side. There the songs are more conventional, but still wild and inventive. The song "Trust" was what roped me in, and I stayed roped in until that last phenomenal song, "Walking Through My Dreams." Then I went back and started the album over. I still think side 2 is better, but side 1 started to grow on me. Like, I finally clicked in with their sound. Is this a 5-star album? Maybe, but i'm not ready to go there. But it is a hearty 4. Very glad I listened to this one.

one of the greatest live albums. i love the dark gallows humor. Johnny Cash is incredible and the empathy he has with his audience is palpable.

Gimme Shelter is one of my favorite songs by anyone. Merry Clayton's voice crack is maybe my favorite music moment ever. I love that cinematic opening to Monkey Man and the guitar lick is perfect. Also, "I'm a cold Italian pizza," is one of my favorite lyrics. The rest of the album has good moments to be sure, but there are a few tracks that have always irked me. The biggest offender is Midnight Rambler, which is way too long. And I don't love You Can't Always Get What You Want, but that seems to be just me.

Fantastic. Had never heard of this before and I loved every second. Great grooves. I loved his singing. A blast from start to finish.

There are a couple of good songs on here, but damn, the ones that irk me drive me up the fucking wall. Rainy Day Women makes me want to choose violence.

"Over Under..." has always been a favorite but the rest is forgettable. Unworthy of being on the list.

I, like millions of other people, bought a copy of this when it came out. It was such a cathartic record at the time—which is saying something as a guy, but damn I loved her anger. A few years ago, I decided to revisit it, and on that listen, it felt flat, dated, and contrived. It had gone from a 4 to a 2. Today, though, I was into it a little more. There are plenty of songs that don't work--her singing can be too...much, for lack of a better word, and I don't always believe her, and as a writer I just can't with the lyrics to Ironic--but the songs that do work are absolute bangers. So 3 stars overall, but a few of these tunes have been stuck in my head for days, and you just gotta tip your hat to someone who can do that.

yeah every song sounds the same, and apart from the title track, none of them are classics (it's also not really my bag), but damn it sounds amazing. So simple and pure. it's raw and clean at the same time. No wonder Mutt Lange is so celebrated. It was fun reading the wiki article about the creation of this one.

I like this way more than the grunge bands they were lumped in with, though i'm not sure this is quite 4 stars. it came, it was pleasant, it went, and nothing sticks in my head. But it's a good 3.5. rounding down seems harsh. ah, fuck it, let's round up. You're welcome, Screaming Trees.

Pleasant enough. that song with the kid, though.

Unsure how to rate this one. On a personal level, I admire this more than like it. Reid's a killer guitarist, especially when he gets atonal. In fact, the weirder they get the more i like them. (Also, the bassist is great.) But Glover's not a compelling singer, and the lyrics are pretty trite. I dig that they cover a lot of stylistic ground, but it doesn't always work. (Also, the production does nothing for me, especially the drum sound.) So, I'm going with a 3. It seems a little low but I can't bring myself to give it a 4.

I've owned this album for years but this was the first time i made it all the way through. I enjoyed it, even though i would lose the skits. i wouldn't say i'm a huge Wu-Tang fan, but this one is pretty damn solid.

Hearing this brought me back to listening to WXPN. God, they loved this guy. But every time he came on, I would switch the channel. Dude's voice irks me as does his tepid approach to songwriting and arranging. Not a fan.

unremarkable, but pleasant enough. they seem to have a good sense of humor, which i dig.

some cool things going on here, even though each song was pretty sparse. it's not really my jam, but I liked it more than i thought i would. it was interesting reading about Don't You Want Me. The lead singer hated it (which is why he relegated it to the last track), and he didn't want it released as a single. Funny how artists often don't understand their own work.

yeah no

Pleasant enough, but I prefer Trailer Park, which has a more interesting sound and cooler arrangements. but yeah, she's cool. in many ways, this album reminded me of Tim Buckley in how the two of them blend jazz and folk together, except I liked Beth's take on the genre better than Tim's.

This album failed to impress me when it originally came out, but today I really got into it. You can taste the dive bar sawdust, smell the oleander on the air, and hear the neighbors chatting away on their front porch. evocative stuff.

did not care for this

these guys are trying to kill me with all this edm. why do they love this genre so much?

I was excited for this one seeing as this project has turned me into a TH fan, but I was a bit disappointed. It's OK, but it's lacking that certain something that the predecessor and follow-up had. I do like how free they were to explore some crazy sounds and beats. But it didn't grab me like some of the others.

wow. i was not prepared for this one. i love how bleak the lyrics are under the guise of being "normal" 60s pop-crooner tunes. but then often the tunes themselves devolve into near chaos. i'm not sure if i enjoyed this album, but i definitely admired it. and it's sending me down a Scott Walker rabbit hole. The dude recorded with SunO))))! Wild stuff. Looking forward to hearing more from this guy.

Hot damn, what an album. Ferocious, tear-up-the-room, punk pop with a killer single and some fun, quirky deeper cuts. I loved it and was not prepared to do so. The drummer and bassist got full-body workouts on this one. Great songwriting, too. Reminds me a bit of Buzzcocks, only turned up to 11. Fabulous.

I enjoyed this, though I think it was a wee bit long. So I'm rounding down from 3.5 to 3 instead of up. But yeah, I dig the vibe on this one.

I have a soft spot for The Monkees, and I certainly enjoyed much of this album, but I'm not sure it belongs on the list. Yes, it's a big moment for them as they finally wrestled control of the band away from Don Kirshner, but also who cares? I'll stick with the various greatest hits collections, though it was nice to hear a few tunes I didn't already know. Also, though, kudos to Mike Nesmith as always.

Wow, this is fantastic. Not as immediately accessible as their first album, but brimming with ideas. And it's so moody and evocative. Is this a 5? Maybe not. But maybe it is. Today, though, we're going with a 4 with the right to give it a 5 later on.

I just can't with this guy's voice, especially when he holds those long notes, which is almost all of the time. I get that people love him. Cool. Not me.

Pretty bizarre album, effortlessly spanning several genres. having said that, i had no idea who this artist was going into this listen and still none afterwards. a pleasant enough listen, but not sure it's one I'll be returning to any time soon.

i don't know why this is on this list. it's all right, but it's nothing special. two good songs does not a must-listen-before-you-die album make.

great bass playing. two good singles. otherwise, kinda meh.

This didn't work for me. I don't think it's a coincidence that their later music had the biggest impact of their career. Some bands can pull off bloated concept albums. The Bee Gees are not one of them. Melody Fair was ok.

The moment we started this project, I've been wondering how our little group is going to react to this famously challenging album. Me? I dig it, though it's certainly not an album I turn to very often. I really have to be in the mood for Beefheart, and even then, I usually reach for Doc at the Radar Station. Still, this one is pretty groovy and wild and I do genuinely love it. Also, it's surprisingly catchy.

Great stuff. The title track is one of my favorite country tunes, though I prefer Lucinda Williams' and David Crosby's cover. In fact, I generally prefer other people's version of these songs (especially Evan Dando and Juliana Hatfield's cover of $1000 Wedding and The Everly Brothers' original version of Love Hurts). Gram and Lucinda certainly bring their A game (and Gram wrote or co-wrote several of these classics), but there's a softness to the arrangements and the band's performance that takes away one star for me.

A whole lotta meh. I'd never heard this—or even heard of it—before, which is surprising because this is exactly the kind of music I was listening to back in the 90s. And listening to it today, I dug the sound, but it failed to really move me beyond just a general sort of nostalgic appreciation. The songwriting is kind of lacking and the vocals were kinda mid. This is really more of a 2.5, but I'll round up just 'cause.

Still fantastic after all these years. Such a great debut and one of my all-time favorite albums. This time around, I was struck by how many beautiful little touches there are from each member on every single song. Music doesn't get better than this.

I was into their previous album, Love, but when this one came out I lost interest. It just seemed so vanilla compared to their earlier stuff. Listening to both albums today, I think even their earlier stuff is kind of vanilla. Plus, I don't care for the lead singer's voice.

I love this album. I had read about these guys for years and always wanted to check out their music, but their entire early catalog was out of print. Finally they re-released it in the early 2000s, but the only way to get it was to buy an expensive box set. I bought it on pure faith, hoping I'd dig it as much as the critics said I would. Thankfully, I did, and I did so from the very first note on this album. I know this music isn't for everyone, but it sure as shit is for me, and I'm glad it's on this list.

Fantastic from beginning to end. She has such a gift for melody and lyrics, and the arrangements are on point, too.

I was enjoying this right up until the song Motorhead. Had the album ended there, I would have given this 4 stars. But no. I was only at the halfway point. Anyway, great playing, high energy. Yeah, it's all one song, but it's a pretty good song. It was just twice as long as it needed to be.

It's funny. I remember liking this one quite a lot. And it is good. I dig their vibe and sense of humor. But I don't know, it fell a little flat today. More of a 3.5, but I'm rounding down. I prefer the first English Beat album.

This was cool and something I'd never even heard of before. I recognized Buffalo Gals from Eminem, but aside from that this was all new territory. What a bizarre album. I don't love that Malcom's name is all over this and not the musicians, but whatever, it's cool and the musicianship was on point. Fun examples of early hip-hop and various world musics.

This is solid. I got tuned onto these guys when their second album came out. I still prefer that one, but today's listen made me appreciate this one a lot. Great songwriting, performances, and arrangements, but I was getting a bit tired of it all by the end.

Solid set of country tunes. The performances were all top-notch, as is to be expected with Nashville. And the songwriting is decent, and maybe even better than that. But nothing really stuck with me. Maybe i'd have to give this more listens, but i'm sure I won't.

Huh. Yeah, I really liked this. It may even be a 5, but only more listens will tell. Her voice is a cool mix of Lorde and Bjork. Her melodies and lyrics are pretty great. It doesn't surprise me that Van Dyke Parks was involved, as I could hear similarities between this and his Song Cycle (though this is better). But it does surprise me that Steve Albini produced this. I mean, what? I can see why this is provoking such strong reactions in people, but I think it's great.

Yeah, it's OK. I mean, each individual song is gorgeous. Some nice covers on here. But overall, every song is so quiet and chill, it's all a bit much. At one point, I kept turning up the volume and I swear the song kept getting quieter on me. I literally couldn't turn it up high enough to hear what was going on. Anyway, props to them for that Sweet Jane cover and for resurrecting that middle 8 that had been missing from the original VU single. OTOH, you now can't find that original VU single without the middle 8 added back in, and frankly, although that bit works here with the CJs it doesn't work as well on the original. But that's not the Junkies' fault.

Given the name (and styling of that name), I was not expecting this kind of music. I guess I expected something harder, darker. Having said that, this was fine, though nothing really stuck with me.

What an album. And the fact that this is a debut is just mind-blowing. Nothing else sounds like this album, even in FZ's own catalog. It's just so different, right down to its DNA. Every song is fantastic. The performances are great. The arrangements are thrilling. There's so much meat on every song that I'm still hearing new details thirty-six years after first hearing this album. And on top of all that, the humor and social commentary is spot-on. On later albums I think Frank often gets unnecessarily mean and petty, but here his satire is perfectly aimed, and his parodies are pitch-perfect. (It helps that he truly loved doo-wop.) There are so many amazing lines on this album... ...Mom I tore a big hole in the convertible... ...I don't even care if your dad's the heat... ...That's why I had to get my khakis pressed... ...I'm not black but there's a whole lot of times when I wish I could say I'm not white. Zappa made a ton of great records, but I honestly don't know that he ever surpassed this one. Truly a remarkable and audacious artistic statement, and one that still sounds fresh and invigorating today.

OK, let me get the review this album out of the way. It's great, no doubt. It's chill; the performances are nuanced and tasty; and it was enormously influential. So yeah, it's at least 4 stars. But boy these guys have a hard-on for jazz samba. This is the 3rd such album we've heard, and who knows how many others there are. I like jazz samba, too, but two Stan Getz albums is a bit much. And meanwhile, there's no Sonny Rollins, Ornette Coleman, Louis Armstrong, or Charlie Parker? I get that jazz isn't the most popular genre for the people doing this project, but let's at least represent the breadth of what the genre has to offer. I would easily swap out that Asturd Gilberto solo album for Coleman's Shape of Jazz to Come and this one for Rollins' Saxophone Colossus. And let's get rid of Kid Rock in favor of some Louis Armstrong and Limp Bizkit in favor of Charlie Parker.

I don't know how to rate this thing. I've always felt this record was overrated, though the bangers still bang. But punk was always more of a singles genre than an album one. Johnny Rotten is a hell of a front man. His sneering, snarling, anti-singing still sounds dangerous and thrilling—more so than the band, I would argue. At the same time, though, I kind of wanted him to shut up after a few songs. He has one gear and it gets a little old. Also, today was the first time i ever listened to the lyrics for "Bodies," which still have the power to shock. So I guess that's something. Also, I didn't care for New York with his frequent use of "the other F word." But Pretty Vacant, Anarchy, and God Save the Queen are still pretty ferocious. i know it influenced a billion bands, but this is my "how much do i want to listen to this album" rating.

I don't know. I want to like BB, but I just can't connect. Politically, I'm with him. I dig his spirit and his accent. But his songs just don't work for me. I've tried.

The Roar of the Masses Could Be Farts is an S-tier song title. This has long been a fave of mine. These guys play so well together. Great riffs and hooks. I love their sense of humor. I just wish D Boon was a better singer. Also, as much as I love this, it's a lot.

i didn't hate this. but i didn't enjoy it either. A few songs were pretty decent, but overall, my problem with this album is that the material is lacking. there are very few melodies that drew me in. Plus, I don't find her especially compelling as a singer.

This surprised me. I liked it a lot. Why do I like this over EDM? I think it's the analog samples and organic feel. Also, although it's repetitive, it never went overboard. Cool sounds, atmospheric production, and playful vibe.

I certainly don't know enough about afro-cuban jazz to know how this stacks up against other albums, but this was a great listen. None of the soloists really made much of an impression on me, but that's about the only complaint I have. great stuff, if perhaps a bit unmemorable.

I bought this one years ago on the strength of great reviews, but i always struggled to connect with it. Today, I was surprised at how much of this album I remembered. Darkness and Doubt has been in my head all day. Anyway, I appreciate this album more than like it.

I love the Louvins, though i admit this one is a lot to take in in one setting as the songs, arrangements, and singing are the same from song to song. Each individual song is great. The lyrics are often downright shocking, and the material will leave you scratching your head wondering what exactly is the point of view of the songwriter (though the Louvins wrote none of these songs). Anyway, for an album listening experience, I prefer Satan is Real. It has more variety. I think the Louvins are best served by compilations. I hope this album won't turn people off of them. They are fantastic and they influenced so many musicians, both in and out of country music.

fuck i hate this

thanks to my daughter, i've become much more of a fan of goth than i was when i was young, so this really struck a nerve with me. great stuff. the lyrics a bit trite, perhaps. but the music!

Man, this album blew me away back when I was a senior in college. And I still love it, though maybe less so. If i'm being objective this might be a 4 star album. The production is a little wanting, I think—though it really shines if you have a good set of headphones. I can see why people don't connect with it these days, but this album was a massive influence on me: that combination of loud, distorted guitars and dreamy voices and wavy tremolo work, just seemed like the future of rock. And for that it gets the full 5 stars. So glad I got to see them live in 93 even though my hearing didn't recover for 3 days.

There is a 5-star album on here, but boy oh boy is there too much music. Two albums too much. I've never finished this album. Ever. I've owned it for thirty years. So I'm not sure how to rate this. Three stars seems harsh—again, there's a 5-star album on here—but at the same time, I have to rate this as a whole and boy that last disc is a bore.

I really enjoyed this, and damn it sounded fantastic. more of a 3.5 but i'm rounding up because why not

Aimee Mann leaves me a bit cold. I think she's technically a solid songwriter, but her songs have always failed to connect with me. (Except for Til Tuesday's classic, "Voices Carry," which has been in my head all day.) Anyway, this is more of a 2.5 but I'll bump it up because I like her as a person.

i wasn't expecting to dislike this as much as i did. it's such a disjointed listen. also, it's like musical tourism or something. dabbling in several genres, none of which quite worked—especially that rap tune, but also the jazz didn't swing. and the songwriting didn't work for me. i'm going with a 1 because i didn't like it and I'm also dinging it for being included on this list. it's not Style Council's fault, of course, but there are so many more deserving albums.

i wasn't really sure how to take this at first. in reading about it, i realized that the music is satire, though I needed to do some homework to get that. musically, i wanted it to hit harder, though some of the tunes were all right. I checked out their cover of the Beatles' Let it Be album, and on that one, the satire is more obvious. (Although their cover of Across the Universe is gorgeous. Go check it out.) Anyway, I'm glad I heard these guys even if i won't be going back to listen to them. i see where Rammstein got their start.

This album is probably better than the 3 I'm giving it, but this is how I felt about it today, hearing it for the first time. I can hear the songcraft and the arrangements and performances are all great. But it is mostly one mood—and a downer of a mood at that. (yes, I know what the album is about.) I think Nick Cave is a gem and very many of these songs were pretty great, but hearing the whole thing in one go is a lot. So it's probably at least a 4, but it hit me like a 3 today.

i've tried with these guys before (different album) but the results were the same. nothing stuck with me. maybe if i gave this some serious attention and several listens i'd be able to delve into the nuances of this music. but i doubt it. i swear critics rave about random bland bands just to troll us.

s'alright, i guess. i do like british rappers, but not sure this one really spoke to me. is this really an album we need to hear before we die?

God, I love Roxy Music. Sophisticated, lyrical, catchy, powerful, fun... and killer musicians to boot. They're the whole package. Having said that, this is one band where I'd choose different albums than the ones the authors of the book chose. This album has some of their best songs, but it's never been my fave. There aren't any duds on here, per se, but I enough songs that are OK that I can't bring myself to give it a 5. But you can really hear how these guys inspired Duran Duran on this one.

There was a lot to digest here. I'm not sure I loved how schizophrenic the album seemed, but at the same time I admired his ambition. There's no Tame Impala w/o this record. The first tune, Zen Archer, and the last two were my favorites. I didn't care for the medley of covers. I feel like this one might require a few listens to get into all the nuances. So my 3 is more of a tentative score than how I expect to feel about it down the road. I will definitely be revisiting this, though.

I like Erykah Badu's overall aesthetic. She's cool, empowering, and chill. She's a unique presence, and she avoids the cliches that many of her contemporaries fall into. The music on this album is often pretty groovy. I just wish I liked the compositions more. Some of the songs were cool, but most came and went before I ever had a sense of melody. And I can't decide how I feel about her vocals. Sometimes they work nicely, sometimes they grate, and sometimes—especially when she's singing her own backup—I swear she's off-key. I feel like she's a great feature more than she is a solo star.

After rolling my eyes over yet another Tim Buckley album on this list, I wound up not hating this one. At times his lyrics were rather painful (making me long for Dylan), but the music was often interesting, if dated. Also his singing wasn't as weirdly unhinged as it would become later on. (In fact, he often reminded me of Mickey Dolenz of the Monkees.) Anyway, this one's all right, but I'm glad we've finished with him. (Also, I would be remiss if I didn't once again say that his Starsailor album is better.)

Four monsters at the top of their game. This has always been a fave of mine and it still holds up after countless listens. John's tone and harmonic explorations, McCoy's bombastic chords, and Elvin's and Jimmy's smooth polyrhythmic grooves are all such iconic examples of beauty and fire. Truly one of the greats. I only wish Eric Dolphy had lived long enough to play on this puppy. I can imagine his incredible bass clarinet bringing this album to even greater heights.

One I've had in my collection since college. Hard to get too excited about it, but at the same time, the great songs are pretty damn great. Each song is a haiku, stripped down to its essentials. I can't find any fault with each tune, but as an album, it gets a bit much. I find myself tiring of the whole thing about halfway through side B. Still, the musicianship is amazing thorughout, especially the bass playing by Percy Jones and guitar by Robert Fripp.

I tried getting into PJH for years (Jeff first tried to get me into her back in 95), but I could never find my way in until Andre played this for me on a road trip. I was immediately smitten. The songwriting, performance, production... it all came together for me, and I've been a PJH fan ever since. Sometimes you just need to find the right door. There's so much to admire here, but I especially love all the interpolations, samples, and subtle call-backs to older songs: Istanbul (Not Constantinople), Summertime Blues, Caroline No, Blood and Fire, etc.

I do like Nick Cave. These last two albums of his, though, were a bit of a chore to get through. I still like him, but I just want his albums to have more variety. Also, I tend to like my Nick Cave with more bite. Individually, these melancholic songs were all cool. Taken together though, they were a bit much. Give me Murder Ballads or that double album we heard that had that Harry potter song on it. Those were my kinda Nick Cave albums. unsure how to rate this one. as an album, it's a 2, but like i said i thought the songs themselves were all right. let's go with a 3

Metal is never going to be my favorite genre, though there are a couple-dozen songs that I enjoy. But on the whole, I find the genre a bit silly, and Bruce's vocals are exhibit A. I just can't with that operatic tone of his. Having said that, I didn't hate this album. The songs are pretty strong (if also perhaps a bit silly) and the playing is aces. But that singing. (Bonus point for that Prisoner clip, though.) Also, as a teen, I loved their album covers and posters. They're still pretty great. And that logo is iconic.

all killer no filler. also, has anyone ever rocked a pair of sunglasses as hard as she is on the cover?

Huh. For some reason I avoided this album when I was young and listening to this kind of music. JT was unavoidable on classic rock radio, so I knew several of their songs and even had a greatest hits album, which I enjoyed a bit but never enough to pursue their albums. (Plus, I did take a chance on Thick as a Brick once and didn't care for it.) Now I'm sorry it took me so long to listen to this album, for this thing cooks. It's an epic concept album that avoids pretentiousness. (I think it's saved by its empathy for the losers of the world.) The songs are well-written, (this thing has guitar riffs for days), the lyrics are fantastic, the arrangements are thrilling, and the performances are top-notch. Plus, I found the sequencing perfect.

Cool, though inessential. I did like their cover of Listen to the Music.

I admire the ambition of this album way more than the execution. Caroline Says II, which is a remake of The VU's Stephanie Says, is a great example. He took a pretty, albeit straightforward, song and deconstructed it to the point of sabotage. It could have worked, but his singing really got in the way. Frankly, his singing was my main complaint on this album. But damn, The Bed—a song I'd never heard before—absolutely floored me, and mostly because of his singing. And that's the thing with Lou. His use of Sprechstimme can make or break a song. With the Velvets, it almost always worked. In his solo career, it often seems like self-parody. But this was my first listen to Berlin. I could see this album growing on me.

I dig Bjork, but I wasn't feeling this one. Could just be how I was feeling today, but it didn't seem worthy of being on the list.

A few classics surrounded by a ton of filler. But man, when they're hot they're on fire. Cold Steel, Witness, Party For Your Right to Fight are amazing, but Bring the Noise is truly one of the greatest hip-hop songs of all time. The production is killer, the sampling is dense and wild, the lyrics iconic, and the interplay with him and Flav is perfect. Unfortunately, the rest of the album doesn't rise to those songs heights, and many of the songs start to sound the same. But this album was revolutionary then and some of the songs continue to be. Plus, I didn't hear a single mention of the B-word.

Texas blues isn't my favorite, but I do like the drummer, and La Grange is always a good time. Other than that, though, this is a hard pass from me.

I mean, yeah, this is cool enough. It's hard to argue with any individual tune—and the title track is a gem—but it's a little too one-note for an intense listen. as background music, though, it's hard to complain about this. put it on at a party or in a bar and you're good. plus, the band is great.

I laughed when this showed up as this is such me album, and as much as I love it, boy do I get why people might not. This thing is a beautiful mess, and I wouldn't have it any other way. It reminds me a lot of The White Album in that not every song is great or even meant to be great, but the whole thing works so well thanks to the sequencing. I love how goofy it all is and its lo-fi production, but I'm also amazed at how many instantly catchy melodies Pollard is able to conjure up. Even in the songs that start out as complete nonsense, he somehow finds a way to make them sing. And best of all, nothing overstays its welcome. One complaint: i don't love the use of "the other f-word" on here, but other than that, this is my jam. I was grinning like an idiot all morning. Bee Thousand is also amazing, but their other albums never did much for me.

Damn. This thing is a beast. There's so much to enjoy here. OK, the second half isn't as strong as the first, but even there it has some timeless gems. I guess I can't go the whole 5-star on it, at least not today. But I'll definitely be returning to this one. Also, it's nice hearing Killer Mike.

The atmosphere is thick with grime, loneliness, loss, and longing, shaken over hallway ice and regret sex and hastily dumped into a highball rim-coated with some exotic spice that stings your lips and keeps you coming back for more. There's a whole world on this album. Underworld, at least. Chock-full of cigarette-stained teeth, beer nuts, tattoos, torn nylons, and graffiti-coated stalls. It should be ugly but the marimbas, angklungs, and angular chords give the whole scene a mystic vibe like sewer steam flowing over a '70s Oldsmabuick. Stay away from Mickey's Big Mouths, though. I got a story about them. And it ain't pretty.

Yeah, this was solid. Better than that, even, though it felt a little disjointed to me, keeping it from a 5. But I dug the vibe and atmosphere.

Wow do I dislike this. Something about their sound is such a turn off and I can't quite put my finger on why. Maybe I just heard it on the wrong day.

Fantastic, fun, funny, foundational. It still holds up all these years later. This is my favorite Pixies album. I love how they seem to care and not care at the same time; how loose and tight it is. Kim's and Frank's harmonies, like John and Exene's, shouldn't work but somehow do. Also, great production from Steve Albini. No wonder Nirvana wanted to work with him.

This utterly failed to make an impression.

Cool though a bit uninspired. I wouldn't say this is an essential listen, but if you like KB, which I do, this will put a smile on your face.

A beast of an album. Such personality and atmosphere. Dude had a vision and executed it to perfection. It's amazing how something as simple as "no cymbals" can affect the overall aesthetic. This is a harrowing, paranoid, and claustrophobic listening experience and I'm not always in the mood for it, but when I am it's amazing. Stellar performances from everyone involved. And some nice innovations to boot, like the gated reverb drums that came to dominate the '80s.

I've always enjoyed a few songs from these guys, but I wasn't expecting to like this as much as I did. I expected to give it a 3, especially after a few tunes that all sounded the same. But I don't know. It grew on me. It's a very dense album, musically. There's a ton going on and it's hard to pry the individual parts apart, and that worked more often than not. That dude's voice is one I've always enjoyed up to a point—he's pretty tuneless, a la Mark E Smith, and that can get old. But it never really bothered me. Also, I liked the saxophones. Very Roxy Music. Good stuff, even though I'm not sure I dig the lyrics to Pretty in Pink. Feels a bit misogynistic to me, but maybe I'm reading it wrong.

This may be the blandest album I've ever heard. It's so tame it makes that other Pet Shop Boys album we heard sound like Slayer. I kept expecting someone to start cleaning my teeth.

Tepid boomer BS. I've never found him compelling in the slightest, although he's great in the movie Two-Lane Blacktop. Other than that, pass.

Wow, I really dug this, which surprised me. I knew the Yo la Tengo version of The Whole of the Law, which is a very straightforward and pretty tune. Upon hearing The Only Ones version, I thought, "Dear God, I have to put up with a whole album of this dude singing?" But "Another Girl, Another Planet" won me over. And then the next one. And the next one. And by the end, I was wondering why I'd never checked out this fantastic, shambling, adventurous album out before.

I'm kind of amazed I never checked this album out before. I knew Killing in the Name, of course, but damn! Every song is such a banger. This has to be one of the best debut albums I've ever heard. Tom's guitar work is sublime, Zack's lyrics on-point, and that rhythm section is hard and funky. What a stunner.

This was my first time hearing this. I'd always seen it on various "best of" lists, but perhaps because of their association with Dylan and/or their Grateful Dead like vocals, I always decided that this was not for me. I was wrong. This is great. Not sure I can go to a full 5 stars on this, but it's definitely a 4. The vocals still irk me on some songs. (Not sure who the culprit is, but it's not Levon.) But the grooves are great—loose at tight at the same time. The arrangements and production are kind of weird and perfect at the same time. That organ sound on Chest Fever is absolutely killer. Wheel's On Fire: I knew this was a Dylan song, but until today the only versions I'd ever heard were the closing credits for Absolutely Fabulous and the Siouxies and the Banshees version. This one isn't my favorite, but it was still cool to hear. And as for The Weight: It's so weird hearing a song that's so familiar on an album of tunes I'd never heard before. No wonder this became the hit, it's so obviously commercial. Sounds like it came from another planet. Anyway, this may grow to a 5 with enough listens.

I don't know what's worse: the concept or the execution. Scratch that. It's definitely the execution. This album makes me feel like a music store employee driven to murder from having listened to twenty years of wankers noodling away on shitty Casiotones.

Yeah this is pretty great. It introduced me to a lot of wonderful country tunes and performers. Having said that, I don't find myself reaching for this one as much as other country/rock albums from this era, or even other Byrds albums. I prefer the first Flying Burrito Brothers and The Everly Brothers' Roots album. Still, it's a nice collection of good-to-great covers as well as some stunning originals like Hickory Wind and 100 Years. Thoroughly enjoyable if perhaps not perfect.

This was my first time listening to this. I dug it, though I do think it's a bit uneven. But the bangers are frigging great. The Last Day of Our Acquaintance always gets stuck in my head for days and I was kind of surprised it wasn't the last track on the album. She def should have swapped the last two songs. Anyway, glad I heard it. Will listen again. And I'm sorry she had should a tough time of it. She deserved way better.

Yeah, wow, I liked this way more than I thought I would. Many years ago, I bought a DVD; Jackie Chan's greatest hits: nothing but the fight scenes, and unbeknownst to me, those scenes were all set to Ministry. So I couldn't help but laugh when that first song came on. Anyway, I liked this in spite of the fact that it's totally outside my wheelhouse. I dug how hard it hit and their whole noisy aesthetic. Plus, they have a sense of humor, which always goes a long way for me. Will I be checking out their other albums? Maybe not. But then again, maybe I will.

Another one I liked more than I expected to. Back when I was in my Sinatra phase, I always avoided this album. Not sure why. Maybe I thought it would be too muzak-y. (Which, let's face it, it does sound like elevator music, though it's a rather nice elevator.) I don't know that the arrangements always serve the songs, and things do get a bit samey (it might have been nice to strip things down to just a guitar for a song or two), but you can't beat the material. ACJ was a hell of a songwriter. And even the songs he didn't write are performed well here. Not sure that any of these performances are the definitive versions of these tunes, but Frank's delivery allowed me to better understand the songs' meanings for the first time. Not sure this is a must-hear album, but it's a classy, if a bit middle-of-the-road collection of classic songs, all performed with sensitivity.

I never loved this one the way I did Rain Dogs of Swordfishtrombones. And on this listen, I liked it even less. Those other two really capture lightning in a bottle. This one seems to be going through the motions. A few songs still hit, but I kinda got tired of it about halfway through.

I admire the spirit, energy, and musicianship, I just felt it was lacking magic. A lot of exciting things were happening, and almost none of them made an impression. Maybe I need to re-listen, but that's all the time I had.

Yeah, I don't know. I can handle the Beasties for a few songs, but only from Paul's Boutique and beyond. It's their voices. They drive me cray-cray. Also the beats are boring and their flow is the same on every song. I'm kind of amazed at how much respect this album continues to get.

Complaining that music "all sounds the same," while you're ripping off Warren Zevon is pretty shameless. The rest of it was OK, I guess, though his singing really got the best of me at times. This was my first Dexys album, and after reading about it, I was excited to enjoy a previously overlooked gem. Sadly, that was not the case.

This may have been the first hip-hop album I ever bought. And I dug it for about two weeks until I got tired of it and never listened to it again. Today, I wondered why this album didn't have staying power. It's produced well. It's catchy. I dig the overall positivity from these guys. But it's pretty corny and preachy and not even the tiniest bit profound. It's hard to hate on, but at the same time, it's like the "Free to Be You and Me" of hip-hop.

This is pleasant enough and the lyrics are interesting. Also, I dig how she subverts expectations. But I'm struggling to love this for reasons I can't quite articulate. Why isn't this my cup of tea? Am I a heartless monster? These questions and more...

As a Roxy Music fan, I've been frustrated by the author's picks. This is one of my least favorite Roxy albums, and I really feel like it's a selection guaranteed to turn off potential fans. A few songs are pretty great, (Do the Strand is an all-time classic) but over all, I find this album kinda mid and even a little boring. Bryan's singing even gets on my nerves on this one. Also, I don't love the production. It's a very paranoid album, which I think was the point, but it's not my bag—at least, this isn't why I listen to Roxy Music. All I can say is, don't let this album turn you off of this band. They're fantastic. You just need to listen to their best albums (Stranded, Siren, Avalon, and their fist album, Roxy Music, is pretty dope, too—that one is on this list). 5 stars for the album cover, though.

Yeah, I dug this. This is my first time listening to a full T.Rex album. It's fun, it's heavy. Cool melodies. Nice production. I dig his voice. Nice to hear songs other than the hits. (BTW, if you haven't checked out Tyrannosaurus Rex, his earlier folk band, they're fun, too.)

I didn't get a chance to listen to the whole thing, but I loved what I heard. And this was my first Ice Cube experience. Clearly I need to check out his first two albums as well.

I remember checking this one out way back when we reviewed that other Sepultura album. And yeah, I still dig this one. Again, metal that features singing like this isn't really my thing. But damn if these guys don't bring it in terms of great riffs and arrangements. And this album has something that so many metal albums don't have: variety. They really mix things up quite a bit on here. And the weirder this album got, the more I liked it. If it wasn't for the singing, this would be a 5.

This album's a bit hit or miss. I've never loved the ponderous opening of the first track, or the entirety of Saturday Night's Alright For Fighting, and I prefer his remake of Candle in the Wind. But the title track is great, and Bennie and the Jets is a personal fave (it reminds me of my dad, who loved it). I dug a few of the deeper cuts, cringed my way through that Jamaican Jerk-Off, and felt kinda meh about a the others. Elton has melodic and harmonic chops for days, but Bernie isn't a great lyricist, and his poetry tends to keep the songs at arm's length. (Although he does have a gift for memorable phrases. Side note: The bass playing (via Dee Murray) is stellar.

I just can't get into these guys. I've tried. And I'm someone who enjoys avant garde music, but these dudes are operating in a language I can't grasp. I admire their spirit, but I just don't find their music compelling.

Musically, this is pretty dope. Some excellent and inventive guitar playing, good melodies and arrangements, etc. But lyrically, this had me either rolling my eyes or cringing. "I Sang Dixie" was particularly offensive.

Quaint artifact. The title track is pretty catchy, though it doesn't warrant 18 minutes. The bass player is pretty dope.

I liked this one better than the last Pogues album, though the Pogues will never be a favorite of mine. but it's often pretty bad-ass and McGowen is a hell of a storyteller

I don't usually go for music that is this straightforward and open, and this is normally where I insert my "how is this an album you need to hear before you die" tirade. But I don't know. This one kind of won me over. Is it great? Probably not. But it was more enjoyable than I expected it to be, given the rather harsh reviews it got.

Style over substance. I generally dug the vibe on here, but boy the compositions are lacking. And after three songs it all just started to sound the same.

i was not expecting to have such a visceral reaction to this. The music might actually be pretty good (each song features a lot of unexpected tempo and stylistic changes), but I can't tell because the singer won't shut up for even a second to let the music breathe. if i didn't hate the sound of her voice, it might not have bothered me so much, but, well. are we sure this isn't an SNL skit?

There were some startlingly bold and bizarre harmonic choices throughout this album. So, props for that. I just don't think they ever really worked in the songs' favor, and often just sounded plain bad. Also, the best songs on here were good rather than great. Bootylicious, for example. (I'd heard it before, but this was the fist time I gave it a serious listen.) It started off promising, with its meme-ready opening. And the chorus is kinda fun. But it never developed. (Compare it to the masterpiece that is Sisqo's Thong Song, which features one of the greatest key changes in music history, and I think you can see what I mean.) Finally, the lyrics on this album are all over the place, (from kinda-feminist to slut shaming) and never poetic. I often feel like I'm overly harsh on pop albums, especially pop albums from this era. And I tried to like this one. I just couldn't get there.

Boy did I love this album when it came out. I found its grooves thrilling, the juicy, bubbly synths captivating, and the repetitive, layered vocals definitely influenced my own band. But at some point I stopped listening to this one and never really looked back. There are a couple of tracks on here that I enjoy, but nowadays I find it too sterile. I still enjoy the occasional Stereolab song (and their album Sound-Dust is a better listen, IMO), but overall, I've kind of moved on. Still 4 stars for how much this meant to me. P.S. I saw them on this tour. You might not know it from the album, but they were ferocious live. One of the best shows I ever saw.

First time hearing this and I dug it. Easy to see how this influenced a dozen other bands on this list, but most especially Big Black, who I had always thought came from nowhere. This is a solid 4.

yeah, great stuff. Otis has never been my favorite of the great 60s/70s soul singers, but when he's on he's on fire, and he's on fire more often than not on here. His covers are pretty ballsy (A Change is Gonna Come, Satisfaction) but he pulls them off. Respect is great, of course, though Aretha's cover is definitive. Loving You Too Long is perfection. And solid backup from Booker T's band along the way.

On the one hand, it was cool to hear SD songs I'd never heard before. OTOH, I didn't really get much out of those songs. It's just a personal thing. There are a handful of SD songs I genuinely do lie but I think this one of those bands who I like more in theory than in practice.

I'm kind of surprised I never listened to this before. It's an interesting album. He's trying out a lot of different styles to see what works, which is cool, but it makes for a confusing overall listen. I liked about half the songs, hence my rating. I'm glad this wasn't the only PG solo album, as he refined these ideas on later (better) albums. I don't know that this one belongs on this list per se, but then again I wouldn't have listened to it otherwise, so...

Funny, I just listened to this two days ago and wondered if it was on the list. Glad it is. This album is fantastic, and I'm not even into this genre. These guys manage to do a lot with a little, as these songs tend to be very simple (often centering around one chord), and they also tend to be pretty long. And yet they find ways to keep things interesting: subtle changes in dynamics and intensity, sympathetic performances from the band, and of course Sandy Denny's understated and plaintive performances. Plus, the stories are great. Tam Lin is a favorite. My only complaint is that I wish the mix was a bit brighter and a touch more open, as these songs feel like they were recorded in a closet. So, 4.5 stars, rounded up.

I dig their chaotic energy, but their songcraft seems a bit lacking and I'm not sure their adventurous arrangements always help the songs. On top of that, they sound too much like other bands and fail to establish their own identity. having said all of that, the album is an enjoyable enough listen.

I love the Temps, especially this era, but Motown wasn't really an album-oriented outfit back in the '60s. That wouldn't change until Marvin Gaye's What's Going On. This is pretty typical for a Motown album from that era: a couple of bangers, a couple of remakes, and a bunch of filler, which often seems highly derivative of other Motown hits. I really wanted to like this one more. Greatest Hits Volume Two offers up a much better sample of their psychedelic soul period.

oh great another edm. not the worst i've heard.

A classic. A friend of mine said that these guys found a new way to be depressed, which I've always loved. I gotta be in the mood for this, though, and yesterday was not that day. But, damn she's a good singer and their sound is great. But it falls just shy of being a 5 for me because it's so one-note.

Melodic bliss. I played the hell out of this album in college and then put it away for some unknown reason. So glad to revisit it today. Side two isn't quite as strong as one, but it's still pretty damn great. Nice production from Todd Rundgren. All-around a stellar effort.

I was hoping to like this. I generally enjoy Traffic, and I know this album is highly regarded. But it's a little too rambling and unfocused for my tastes. I do like their original version of Feelin' Alright, but otherwise, this feels pretty inessential.

I expected to hate this. I didn't hate this. Reminded me a bit of The Stooges, though not as good. Also, I don't think I understood a single word dudebro was saying. Still, I dug its ramshackle energy. Terrible cover for the music, though.

Yeah, damn, that's a helluva album. Other than the hits, I'd never heard it before. Boy was I missing out. Obviously her vocals are stellar. But the musicianship, arrangements, and material are incredible as well. (Loved the background singers, too!) I particularly enjoyed Franklin's take on James Brown's Money Won't Change You, but everything was top-notch. Clearly I need to listen to more Aretha albums.

Everything that's right and wrong with prog, except all the wrong things are somehow right. It's preposterous, pretentious, ridiculous and whatever other -ous word you wanna throw at it, and I wouldn't have it any other way. The title track is so over-the-top that it would be laughable if it weren't so damn sublime. It is the best prog song that can ever possibly exist. The fact that this was a massive hit, and that these guys sold out stadiums playing this cacophony blows my mind.

I was enamored with jungle for about a week and a half back in the late '90s. Then I realized it was boring. Why so much electronic music on this damn list?

Yeah, I don't know. There are some cool moments on here, but overall, there's a detachment to this that makes it hard for me to care too much.

Yeah, this was pretty dope. Catchy, quirky... they reminded me of The Silver Jews on occasion. I dug this.

There's some good stuff on here, but there were also several songs that got old or just kind of annoyed me. I like her, though. Good flow, nice energy, fun rhymes. Work It is a classic for a reason.

Dude's got skills, no doubt. His flow is killer. But the subject matter and the skits get tiresome. Some great songs on here, though.

I dig this album, but I'm not surprised by all the 1-star reviews it's gotten. It scratches an itch for me—the more minimalist it gets, the more it draws me in and keeps me transfixed—but I get how it would drive others off a cliff.

Take Five is an all-time great. The rest have their moments, but I don't love Brubeck as a soloist. Some tunes were even giving me a headache.

This was my first time hearing this. It was a lot to process. Too much, honestly. Overall, it's an album of promise and potential, but it lacks their later brilliance. Not a bad listen. I'm sure if I gave it more spins, I would rate this higher. I'm just not willing to put in the effort.

Never heard this before. I dug it. I liked it better than that last Fiona Apple we heard. Cool use of rhythm and it featured interesting-though-sparse arrangements. This might grow on me to become a 4, but for now, I'm going with a 3.

Fantastic. So joyful and sweet. What a beautiful voice. Nice blend of various genres. This album was a delight.

Not sure how to rate this. Any individual song was blissful (those harmonies are fire!), but they all sounded the same to my inexperienced ears.

I like the Yeah Yeah Yeahs, and I was still surprised at how much I enjoyed this. They seem to have clamped down on some of their excesses on this one without losing what makes them special. Good stuff.

These guys can write decent songs, but Pete has such an outsized personality and rough singing style that he overwhelms and sometimes even ruins the songs. I prefer their debut record, which is an even more ramshackle affair, but there, the messiness is charming, fun, and thrilling. It often sounds like things will crumble, and I'm astonished when it doesn't. This one is never quite a disaster, but their looseness doesn't always work in the songs' favor. 2.5 rounding up because I like how old-school they get.

Yeah I don't know. I admire the spirit behind this but not the execution. It often felt like the singer was imposed upon the music as opposed to the two reinforcing each other. Some cool moments, but overall, this fell flat.

I enjoyed this, though I admit I couldn't give it an especially close listen. This kind of music is really not my bag, with the drum machines and 80s production, but the songwriting was pretty great, and I enjoyed his singing. My daughter loves this album and gives it 5 stars.

I think X may be my favorite punk band. I love their harmonies, lyrics, and gift for melodies. The energy is high but the songs are more varied than you find on most punk albums. (Honestly, they may be the least punk of the punk bands, which may be why I love them so much. I bought this as a two-fer (with their debut Los Angeles), so until today, I wasn't sure which songs were on which album. And although I love this one, I think it's the weakest of their first four albums. Still, it's at least a 4. Unfortunately, this is the only X album on this list. I would have chosen Los Angeles or Under the Big Black Sun.

This was OK. I had never heard of these guys before today, and I liked it well enough, though I can see why it's been forgotten. I'm not sure if it belongs on this list, but I liked it well enough, even though the main singer's voice wasn't my favorite.

Wow, I really liked this and was not expecting to. This album was like looking at one of those Magic Eye images where you have to focus on it in just the right way to see the image. Once I did, I was magically transported, but if something distracted me, it took a few seconds to be able to get back into that trance state. At the best of times, this album gave me the same ethereal bliss I get from mid-70s Miles Davis. Some of the songs went on too long, but more often than not, it was constantly interesting.

Man, I haven't listened to this in decades. Held up great. Nice variety of material. (Love the Kiss cover.) Paul's a hell of a songwriter and performer. At least on this album. I never could get into their other releases, but this one is lightning in a bottle.

I dug this. Chill, fun. Nice melodies. Not sure how I'd improve it. Only getting 4 because it didn't blow my mind. But I could definitely see returning to this.

I'm never going to be a Bruce fan, but you gotta give credit where it's due: The man brought the goods on this album. The title track is a masterclass in writing—not even how to write a song, but how to use action verbs to make a story sing. This isn't a 5 for me only because the rest of the album doesn't speak to me personally. Also, there were a couple of tunes where I felt like the arrangements overwhelmed the material. Shoutout to Clarence Clemmons, though. His playing throughout was tremendous but it was especially epic on Jungleland.

This was all right. Pleasant enough. Nothing terribly special, though. Like a low-calorie vending machine snack.

A towering achievement. Dude's firing on all cylinders on this one. What a fantastic synthesis of sounds, music, and lyrics. The performances are stellar; the creativity is through the roof. This is peak music.

File under "Meh."

Yeah, Merle's all right. A bit corny for my tastes, but he can write. I usually prefer covers of his songs over his originals. This album gets a bit tiresome after a few songs, though. I like Merle when he shows up in shuffles.

I didn't hate it. A couple of songs were kind of fun. Other than that, I'm not sure I really see the appeal. Maybe Rollins became a better front man later on, but he doesn't strike me as special on this debut.

Another triumph. He's not just a great rapper; he's an absolute master of songcraft. This one, Butterfly, and Damn are masterpieces, and they represent one of the greatest runs in musical history.

I don't know if it's because of the cover, but I was not expecting to like this. However, I thought it was pretty chill and vibey. I dug the '80s-throwback aesthetic, even though that's not my usual wheelhouse. None of the songs really stood out for me, but I enjoyed the ride. I preferred the French version.

Johnny Cash and Rick Rubin recorded hundreds of songs over a ten year period and the results are stunning, beautiful, and haunting. Is this collection the best of the bunch? Maybe, though there are mind-blowing moments on each one of the 6 (!) albums and the the five-disc box set. This collection is fairly representative of the work as a whole. It features country standards (Wichita Lineman), revisions of Cash's earlier tunes (Give my Love to Rose), interesting deep cuts (I Hung My Head by Sting of all people), and jaw-dropping covers of tunes that had no business being as good as they are (Hurt). And yeah, a couple of these don't work as well as you want them to (Bridge Over Troubled Water), but at least Johnny went down swinging for the fences. Overall, this is a winner, and the American Recordings project is truly a gift to the world.

Man, I haven't listened to this in decades. It's still fun. Yes would get better on the next two albums, but this one has a slew of classics on it. And my god, but Squire, Bruford, and Howe are such monster players it's ridiculous. Great stuff, but just shy of a 5 in my book.

On paper, I should love Cocteau Twins. Ethereal vocals, dreamy, shoegazer-adjacent music... these peeps should be a favorite of mine. But I've never liked their sound. I think it's the tinny, thin production that grates on me, but even Elizabeth's vocals got on my nerves on this one (though I have enjoyed her vocals on other projects, especially with Massive Attack). In terms of personal enjoyment, this is a 1, but I'm giving it an extra star because I dig their concept, just not the execution.

Yeah, this is pretty great. Nothing is as good as Astral Weeks, but this collection is so laden with hooks and tasty arrangements that it's an embarrassment of riches. Twenty years ago, this would have been an easy 5 for me. Today, I don't love it as much, but it still gets me tapping the steering wheel and singing and just generally embarrassing my daughter.

yeah, ok, this is fine. a couple of songs are great. but this really doesn't need to be on the list.

I love the Stooges but I've never enjoyed this album other than Search and Destroy. Yeah, the mix is famously a mess (and it's still a mess no matter how many times they try to fix it), but i think at the end of the day, the material isn't as strong as it is on Fun House or their debut. Also, I don't love Iggy's performances. The band is going full-tilt, but it's hard to get too excited by it because the arrangements and the mixes are so cluttered. 5-star album cover, though.

Never been a fan of these guys, but you gotta hand it to them for being able to write and produce so many FM staples on their debut album. Hearing the title track today, I was somehow able to listen to it with fresh ears and marvel at how well put together the damn thing is. I don't love the song—too much posturing (i have the same problem with Bon Jovi's Dead or Alive, which of course came later)—but you can't knock them for amateurism. Paul Rodgers may have the quintessential hard rock voice, but it's also the blandest. He's got great chops, but he's lacking in personality.

Goddamn I love this album. It's the complete package: catchy songs, awesome bass lines, incredible vocals, gorgeous harmonies, tasty arrangements, all lovingly recorded. And it's all over in 30 minutes. Long live the Zombies!

Well, I went into this with an open mind. And the first song was pretty good. But then the weedly-weedlies started and I just lost interest. I mean, I'm sure it's fine for what it is. Great even. But I just couldn't with this today. I did like the singer, though.

Yeah, this is sweet, and I was happy to return to it as it's been decades since I gave this a spin. I love how atmospheric it is. Not every song works, but enough of them do that it transports me to a gumbo joint in NOLA. That last tune is transcendent.

I rolled my eyes when this showed up. I've never been a fan and have never understood the passion people have for this band. But whatever, I went in with an open mind. "Welcome to the Jungle" in undeniably great. It's such a perfectly crafted pop song with all the trimmings—hooks galore, great performances, great energy. 10/10 no notes. The second song I'd never heard before and I would have never guessed it was GnR, it sounded so different. So props for that, but major minus for the aggressive misogyny. Then... well, then it pretty much went to shit with the nonstop hard rock cliches and godalmighty but Axel's vocals annoy the hell out of me. And yeah, OK, Sweet Child of Mine is solid, but by that point I had given up. Fuck Guns and Roses and that disgusting brew of toxic LA-hard-rock masculinity.

For all the hits I've enjoyed from this band, I never bothered to check out any of their albums. I don't know that this is a great album, but I enjoyed it. There's a lot of variety and I liked how weird some of the deeper cuts were even if they didn't strike me as great songs. And of course, the hits are fabulous. Heart of Glass is about as great as a pop song can be. This is really more of a 3.5, but I'm rounding up because I like their moxie and because Clem is such a monster drummer.

I loved how understated and soulful this was. a classic performance that heats up as it goes along. i especially loved that fuzzy harmonica that underscored every song. overall, i'm not a huge blues fan, but these guys from that post-WWII era (Muddy, Howlin' Wolf, John Lee Hooker, etc.) really do it for me.

File under: Good but not my cuppa. I don't love the production on this, though I will say that I liked it more than I thought I would. The bangers were banging—the beat on that first tune was pretty killer. The ballads and mid-tempo tunes were a little cloying. Also, that drum sound got old after a few tunes. I wanted her personality to jump out at me a little more, and I thought her lyrics weren't the greatest. But it was still a fun time, somehow. So overall, I was glad I heard it, and I think it accomplishes what it's trying to do, but I won't be spinning it again.

Huh. I was hoping to like this more. I generally like Tina Turner and I know the story behind this is pretty gripping. But damn, other than two of the hits, this really failed to hit home for me. You Better Be God to Me and What's Love Got to Do with it are great. The material and even the 80s production work with her voice. But the other songs, I really didn't like anything that was going on: songwriting, production, arrangements, or even her singing. The real key to understanding what a miss this project was (for me) was her cover of Let's Stay Together. Like, what was the point of this song? Nothing worked at all. And it bummed me out to not even enjoy her singing because she's such a powerhouse. But more often than not she was powerhousing songs that required subtlety and nuance. I still like Tina Turner, but I won't be returning to this album.

maybe my head wasn't in the right place, but this seemed really bland. there are so many bold albums that didn't make the cut, i fail to see why this one did. i thought the first song was all right, though.

I dig their whole psycho-billy thing. It's fun and playful and somehow dangerous at the same time. It's new, it's old, it's exciting. The singer is great. Like Johnny Rotten or Karen O, he's so much a part of the sound, it can be a bit overwhelming, but most of the time I was perfectly whemled. Wish they had a standup bass—or any bass—to flesh out the sound. But what do I know?

I love this, though I can totally understand why so many people don't. It's adventurous and playful, brilliant and bold without being pretentious. It's filled with tradition (many traditions) while embracing the unconventional and the avant-garde. I love their bizarre song structures and use of dissonance one minute and their ability to switch to perfectly catchy folk tune the next. This album speaks to me like few others do. Is it perfect? No. I think it's maybe a song or two too long and the second side isn't quite as magnificent as the first. But when it flies it soars. "Koeeoaddi There" is one of my favorite songs of all time and I just can't imagine how someone wrote it, let alone how it fits together so beautifully when it seems so desperate to fall apart.

this was fun. never even heard of these guys before, so a cool find. Not sure it's an all-time classic (the two covers weren't great), but i dig their spirit. they're funny and immature and ridiculous. they walked so the Ramones and the Beastie Boys could run. anyway, glad it's on the list.

I remember mail-ordering this from the SST catalog. I feel now the same way I felt then. It's pleasant enough. good musicianship. catchy tunes. I dig their personality. But it's missing something. Like it has no umami.

Strikes me as a flavor-of-the-month kind of album. I'm sure it sounded like the future of music when it came out but now it sounds dated and lacking in focus. There's a lot going on but that's not usually to the songs' advantage.

Not my bag, certainly, but is this even good? They use the same guitar tone on every single song. Whatever. I don’t get it nor am I sad about it

I loved the first two Soft Machine albums. This one has always left be cold. I like experimental music, but this one is too disjointed for me. And I like jazz but this one eschews swing in favor of the herky-jerky.

I never paid these guys much attention when they were popular. And I wonder if this is the maybe the first time I’ve ever listened to them. I never cared much for speed mental or thrash metal (Hence, my review of Pantera ) but I do rather like nu metal. I don’t know that this is a great album. The singer’s schtick wears a little thin after a while and the Fred Durst cameo is definitely a minus, but I dig the energy and the weirdness that these guys bring. And the production is first rate. I don’t think Korn is destined to be one of my favorite new metal bands, but this was more interesting than I expected it to be.

I was decidedly not a fan when these guys were popular. All my friends seem to like them and I just didn’t understand what all the fuss was about. I got into one of their later, albums, dear catastrophe waitress. Anyway, I had high hopes that maybe today I would enjoy them more. And I did. Yes they’re a bit twee. Yes they’re basically one note. But the storytelling is interesting and arrangements are cool and a couple of the songs got stuck in my head all day. It’s definitely music for certain mood. But this strikes me is one of his albums where every song might come my favorite song on the album at some point. I’ll probably be returning to this.

I love the first liars album. It’s a fantastic debut and it’s funky and it’s fun and it hits hard. This one hits hard but it’s not nearly as funky and it’s not really any fun. Having said that a few songs and I kind of started to get into the darkness And the weirdness. But still never destined to be at album I really want to listen to.

Because if travel and the fact that I couldn’t listen to this through my usual streaming service, I had to skim through this on YouTube. Not can I claim any knowledge about this kind of music. So I can’t say I gave this album a fair shake. However, what I did hear I didn’t love. I mean he seems ok. His singing is cool. But the arrangement struck me as pretty basic. And that cover of Imagine isn't great. Anyway, this is a 3 only because I feel unqualified to give it anything else.

What a quirky little album this is. It took a few songs for it to settle down (or perhaps for me to get into its world) but when it did, I rather enjoyed the experience. Killing Moon is well-known to me, but I'd never heard any of the others. I especially liked the title track. Unusual grooves and arrangements. Not sure how much I love the lead singer's voice, but I dig his honest approach, if that makes sense.

I never used to be an ABBA fan. Nor was I a hater. They seemed fine for what they were. I liked some of their songs—even loved a couple. But overall, I felt that most of their catalog was too cloying and silly to take seriously. But then I wizened up and realized I was a snobby, stuffy prat. ABBA is smarter, more creative, and more talented than they had any need to be. Dancing Queen isn't just a great pop song. It's so jammed-packed with goodness, tasty hooks, and gorgeous harmonies that it towers over its peers. The chorus of Fernando is maybe the most glorious piece of music I've ever heard. I didn't know most of the songs on this album, and I'm not sure they're all masterpieces. The first song, for example, seems like a misfire. But damn, every tune is layered with production and performance goodness, and they each offer up something unique. Also, the bass player is a badass.

jesus, these guys have a hard-on for EDM. I tried, though. I really did.

I wasn't sure about this at first—it seemed like the quaint first offering of a band that had yet to find its voice—but it grew on me. I liked how varied it was, and they're having a good time. I don't know that it's a masterpiece, but it's better than I expected. I prefer my Beefheart weirder, but this is still pretty badass.

File under "Not my cup of tea." I didn't hate this, though I'm not sure I really see the appeal. The production is solid, if often a bit unimaginative. There were definitely some songs that were pretty dope. XO was pretty great. Ultimately, though, I don't find her compelling or even that great of a singer. And for an album that's all about sex, I found it pretty unsexy.

Wow. Although I'd certainly heard of Joan Armatrading, I somehow had never heard her music before today. Too bad for me, for this was killer. Great songwriting and musicianship, a nice variety of styles, some gorgeous harmonies, and influential to boot. I may be overrating it with a 5—it's possible it'll settle down in 4-star territory with more listens—but when an album sweeps you away, you gotta go with your gut.

I appreciate this album more than I like it. Their second album, Dub Housing, is a favorite of mine, but I could never really get into this one. Something about the production or the groove just kept this one out of reach for me. I enjoyed it more today. Well, "enjoyed" isn't quite the word, but I got it more. The first few tunes clicked with me better today than before. But it's still an unpleasant album to listen to, and that's saying something because I enjoyed Throbbing Gristle. So anyway, 3 stars for the concepts and the influence, but it's not one I'll be returning to. Not when Dub Housing and New Picnic Time are there for me.

This was all right. I dug its positive vibes. My problem with a lot of message-heavy music is that it tends not to be very poetic. Such was the case here, but whatever. It's chill. I don't know that I thought this was a must-listen, but at the same time I'd never heard it before, and I enjoyed it well enough, and I guess that's the point of this endeavor. So there's that.

I bought this years ago based on a 5-star RS article. I've never quite understood the excitement critics have had for this album. It's decent. Some of the songs, like "Do it Clean," are more than decent. But it all kind of sounds the same after a few tunes.

I had a bit of a chaotic day yesterday, so I wasn't able to digest this as thoroughly as I would have liked to. But there's so much here and what I was able to grok kind of blew me away, so I'm gonna go ahead and say this is at least a 4. Also, I had no idea the other members of the band ever sang lead. They're not bad. They're not Freddie, but they're not bad.

I've always enjoyed this one, but today hit even harder than before. It's just a chill listen, and everyone brings their A-game. My only complaint, and it's the typical complaint for this era of Wu-Tang, is the skits. but the rest of it is fantastic, old-school hip-hop.

I somehow never heard this before today. I knew of it. I'm sure I must have heard Birthday at some point, but not the rest of it. I dug it. The male singer not so much, though at times he brought a certain B-52s energy to the proceedings. But Bjork. Damn. What a powerhouse.

I knew some of these songs already, but this was my first time hearing the album. It's fantastic. I love how angular it is, and how weird it gets at times. Interesting to hear which sounds they continued to develop and which ones they left behind. Brilliant.

I remember not loving this one as much as the earlier AC albums. Today's listen was pleasant enough—My Girls still slaps—but after about 5 songs I once again got tired of it. I admire their effort, but it's too much of the same thing and this one is a bit muddled for my tastes. Sung Tongs is still my favorite album of theirs. Check that one out if this one at all appealed to you. I do love the shimmery cover, though.

I guess I just don't have the gene required to enjoy early Bee Gees. Their harmonies are great, of course. And I didn't know that the opening track wasn't originally an Al Green song (though Al Green's version is better). But this album was dull.

After years of trying to "get" Todd Rundgren (beyond the hits, I mean), yesterday it finally happened. It just finally clicked. I love the bizarre arrangements. And he uses some of the weirdest chords and chord progressions I've ever heard. And the overall aesthetic finally appealed to me. I'm going with a 4 because this is a double album and it was too much for me to digest in one day. (I couldn't even finish it.) And not everything worked. But there is an obscene amount of creativity on this album, and I can see this one growing in my estimation over time.

One of my all-time favorites, so this is an easy 5 for me. I adore every damn second of this thing: the songwriting, the soulfulness, the musicianship, how playful and cool it is. My favorite song is the 15-minute-long gem Voodoo Chile. Four dudes completely mind-melded with each other. The way the tension rises and falls. The interplay between Steve Winwood and Jimi. Mitch's far-out jazz drumming. And it's all held together by Jack Casady's gorgeous bass playing. I wish these guys had formed a band. The suite on side 3 is similarly gorgeous. Such a beautiful, spacey groove. And then it all caps off with All Along the Watchtower and the immortal Voodoo Child (Slight Return). A supreme achievement.

I wasn't so sure about this one, but it grew on me as it rambled along. Not sure this is something I can ever see being in the mood for, but it made my morning walk pleasant enough.

I was never really into these guys, but my daughter is a big fan, and she's made me appreciate them more. Anyway, this album is a vibe, and I was there for it.

yeah, i don't know. these guys are ok. raucous, four-on-the-floor rock, a bit punkier than their peers (save for the Stooges and maybe one or two other bands). i never really understood the hype, but maybe you had to be there.

This is one of my all-time favorites. Listening to it is almost a spiritual experience, which is saying something since I am decidedly unspiritual. On paper, I should hate this. Most of the songs are maddeningly simple—extended repetitions of three chords with no choruses or bridges to break things up—and the lyrics are often obtuse. But the ecstasy is in the details. The performances are understated yet bold. One could just listen to the bassist and be perfectly captivated for 40 minutes. The strings never fail to thrill. And damn, but my boy can sing. I don't know if he ever stretched himself out like this again. This is a lightning-in-a-bottle kind of album. There is quite simply nothing else like it, and every time I hear it I marvel that humans are capable of such beauty. Too bad he's such a knob.

Man, I wanted to love this. TS fans are... enthusiastic, and I was hoping to catch some of that passion. But sadly, that did not happen. I feel like I'm broken or something because people love this so much and to me it just seems so generic and lifeless. I guess I'm lacking the joy gene. This music is produced to within an inch of its life, and her singing is so utterly lacking in personality, it's hard to connect with. These songs feel like they were created by committee. Give me Lana del Rey or Weyes Blood or Olivia Rodrigo or Billie Eilish or Boygenius. Shake it Off is fun, but the rest of it: meh. I'm sorry, Marianne. I tried.

There are a handful of classics on here, no doubt. The production and arrangements are on point, and Lauryn has talent as a writer, rapper, and singer. But the skits annoy me (why was this such a popular trend?), and her melismas drive me crazy. This would be a 2 for my personal enjoyment, but it gets an extra star because it influenced so many great albums.

god this guy enrages me

Sigh. I was wondering when this asshole would show up. I'm going off memory here because I didn't spin this. Music: 5 stars. It's fantastic, and he only got better. His output from this debut through Kids See Ghosts is incredible in terms of quality, creativity, boldness of vision, and ability to get incredible performances from his collaborators. He's one of the all-time greats. But he's also a n*zi fuck. He wasn't always that way. And yeah, he's bipolar, and I don't think he has surrounded himself with people who exacerbate his worst inclinations. But that doesn't excuse him being a n*zi fuck. I adore his music. I hope he gets the help he needs and apologizes for all of his shitty behavior so I can listen to it again.

i enjoyed this listen more than I have in the past. Maybe I needed to hear their sunny harmonies as we plunge into a dystopian nightmare. Not every song hits, but enough of them did. I think The Byrds are overrated. But only a bit.

What is up with that Born to Run cover? The first few songs were OK. even kind of enjoyed them. But that Boss cover took me right out of it.

I listened to this while playing a game with friends, so my attention was not 100% focused. Still, I'm confused why this album was deemed worthy of inclusion. It's not terrible. It's worse. it's bland. Of all the OG rock 'n rollers, Elvis' oeuvre has held up the least well. It seems quaint and even puzzling when compared to that of Chuck Berry and Little Richard. (Though Elvis' Sun Sessions are definitely worth checking out. That music is pure fire.) But he went from being an R&B and proto-punk legend to a cheesy cornball in the span of a year. He had a brief period of near-greatness again in 68-69, but that was it. For this album, I guess you had to be there.

It's funny Rufus was on here because this guy struck me as a similar artist. His voice is a lot, and your mileage will vary depending on how much you can take. There were a couple of songs on here that were pretty solid. They'd make for a great soundtrack to a movie or TV show. But boy, a whole album of that voice was too much for me. I'm not really sure how to rate this. I can't see returning to this, though I didn't hate it. Guess it's right down the middle.

i was between a 3 and a 4 on this one. I love the sound of this album. The harmonies, the pedal steel, Ray's voice. It's nearly blissful. My only real complaint is that every song sounds the same. Not only were the arrangements the same, but the melodies were often similar, too. But this was cool to hear, and I can see his influence on so many of the later country artists I admire, so I'll go with a 4.

Unsure how to react to this. Parts of it were quite engaging, but the songs seem more like Whitman's Samplers of sounds than unified statements, so it was hard to emotionally connect with it. The two parts I expected to dislike were when the voice-over artist announced the instruments and the grunting at the end of the album. Weirdly, I dug both parts.

it's funny how one singer can so distract me from being able to properly enjoy the music (Antony & the Johnsons, Rufus Wainwright), while another, objectively worse singer (this guy), won't bother me. I get why people hate this, but I dig it. I'm not sure I find his bad singing charming, but it's part of the whole aesthetic. (I will confess I wish he could hit at least *some* of the notes.) 3.5 Rounding up.

So that's where that song Kids comes from. Cool. I dug these guys. Fun music, cool sounds. A little bit Animal Collective, a little bit Royksopp, a little bit glam. This isn't something I would have checked out on my own, so I'm glad it showed up here. Thumbs up

I've heard this before, but today was the first day I was able to get through the whole thing. I totally dug it. It's wacky and wild and playful, and I feel like about halfway through I actually understood some of the slang. Back in 2003, this sounded like the future of hip-hop. It still does today.

I listened to this and enjoyed it, but nothing really stuck with me (apart from the mesmerizing second song). I had a hard time grabbing onto the identity of this album, but I could chalk it up to my state of mind. I'd definitely give this another spin.

Yeah, sure. It's pleasant enough. Hard to really have strong feelings either way.

I'm not a huge Zep fan, so take my comments with a grain of coke. I've always enjoyed this album, but other than Kashmir, it's pretty much loaded with B+ Zep songs. They're all decent, but they mostly fail to thrill (although I do love Night Flight). I think the production has something to do with that. There's a muffled quality to it that softens the band a bit and makes them seem a bit sluggish at times. OTOH, this one isn't overplayed the way their earlier albums are, so it's probably my favorite of theirs, even if I don't rate is as high as Zep IV. But again, I'm not a huge fan.

This is another atmospheric instrumental album that's hard to have a strong opinion about. I dig the dub and hip-hop vibes, so I'm a little more willing to give it a 4, but it's not a strong 4. Also, why is there no dub on this list?

This was very cool. Nice discovery. I'm getting strong Silver Jews vibes, though this guy is different. Cool songwriting and I even liked his Sprechstimme approach to singing. I will definitely listen to this again.

Yeah I don't know. I get that people love this, but I've never made it to the end of the record. I dig the vibe and the positive energy, but it's too simple and too much the same from song to song.

i've tried with this album before, and today's listen was certainly more enjoyable, but i've never warmed to this one the way I do with Lief & Liege. so good tunes, though, especially Who Knows Where the Time Goes?

Droll irony is a shtick that gets a old if there's nothing else to back it up. And while I don't hate his voice, the compositions are rather slight. The Kinks did this kind of thing way better.

I enjoyed this. Cool grooves and great performances. The production isn't my favorite, so I'm not sure how often I'd want to pop this on. But i dug it. 3.5 rounding up

I'm surprised at how much I loved this. I heard this when it first came out and struggled to connect with it. But today, boy, it swept me away. Fantastic grooves.

Cool, old school rap with a smooth vocal delivery and groovy beats. Who knows what he's going on about but it's a cool journey. I did, however, get a bit bored 2/3 of the way through, but whatever. It's chill background music.

I enjoyed this more than I thought I would. Still, Adele's voice grates on my nerves after a few tunes. But the songwriting is pretty decent.

boy Jim's shtick wore pretty thin after the 4th song.

I wasn't sure what to make of this as stylistically it seemed all over the map, but I kept finding myself engaged with the material. It was reminiscent of the Byrds and Moby Grape but they also had their own thing going on. I didn't focus on the lyrics, so they might have been crap, but musically, it was adventurous and fun and the songs had strong melodies. Very cool and I'd never even heard of this before, so well done, list!

i wouldn't say i enjoyed listening to this, but i kind of got into it. i dug the dark and grimy textures. the vocals weren't my favorite, but they weren't a deal-killer, either. reminded me a bit of Liars and Menomena. good stuff.

boy, i haven't listened to this in ages. held up great. lyrically, it's rather slight, but it's great fun. i first heard Ely when he was in The Flatlanders (who somehow aren't on this list, but Tonight I'm Gonna Go Downtown is their tune and their version is slightly better, thanks to their musical saw). anyway, glad i got to revisit this.

This is certainly a lot of fun. It's over the top and often hilarious. A whole album of it is definitely too much, however. Cut it in half and I might could do 4 stars.

This is a lot of fun, and nearly every song hits its mark. I got into these guys at the same time as The Buzzcocks, so I get them a bit confused. But whatever, good stuff, if perhaps falling a bit shy of 5-star territory.

boy, this really grated on my nerves from note one. maybe i was just in the wrong headspace to enjoy this.

I like the idea of Scott Walker more than the reality. The music was often quite good, but just like yesterday's album, American Gothic, the lyrics were pretentious and un-poetic. Like, the first song, he's just recounting the plot of a Bergman movie.

i couldn't get into this record back then, and i still didn't care for it today. absolutely nothing works for me, but the 80s production really keeps me at a distance.

i kinda dug their glam take on Britpop, but that flange effect got old after a few songs, as did their singer.

it started out cool. maybe not as interesting groove-wise as Sly & the Family Stone's Fresh or as compelling compositionally as Bill Withers, but it's a chill album. but it kind of died out at the end for me to get 4 stars.

Some bands just don't do it for me. It's not necessarily their fault, I just can't get into them. TJAMC is one of those bands.

Seems like a weird album to include. These covers a fine, I guess, but she's not really bringing anything new to the table here.

Fully formed right out of the gate. If I have a complaint, it's that most of the songs sound the same. But when the songs are this good, it's not so much a complaint as it is a comment. I love how quirky they are, with their weird chord choices and almost-robotic vocals. The non-hits were enjoyable, too. A killer debut, but one that I can't quite make myself give a 5. I'm sure they'll live.

transitional album that didn't quite work for me. left me wondering why it was included on this list. also, the mix was weird, with the vocals obnoxiously low.

Big band has never been my favorite kind of jazz. Having said that, these cats are cookin'! What's not to like? I wish the Benny Goodman 1935 Carnegie Hall concert was on this list.

I definitely went into this listen with a bad attitude, and sure enough, the music met my expectations. I don't give a crap about this band, what they have to say, or how they say it. I can understand why Toys in the Attic was included in this list, but the fact that there are 3 Aerosmith albums on here is a hate crime

Yeah, this is a decent album. Great production. It's very atmospheric and swampy. And I dig the effect on his voice. His songwriting is OK. But it's a fine example of an old-timer hooking up with a talented young producer and making something cool and hip if perhaps not great.

Huh. It's definitely not my cup of tea, but I enjoyed it more than I thought I would. Interesting textures and some rather bizarre chord progressions. Some of the songs I just didn't know how to take, but there were some cool tunes on here.

Damn, this thing is awesome, and I'd never even heard of it before today. I'd certainly heard that first track, having been sampled in literally hundreds of hip-hop songs. I can see how some critics dismissed this as kitsch, but I think it holds up as quality party music. Some of the covers of more famous songs (Satisfaction, Inna Gadda Davidda) aren't quite as successful as some of the more obscure covers, but I'm not complaining. The performances and grooves are first-rate. This thing makes me feel nostalgic for a time I never experienced. This album, like the movie Full Metal Jacket, is an interesting study in how well it has aged, thanks to a changing culture they had nothing to do with (this album as a goldmine for sampling, FMJ as a goldmine for memes). Not sure what else to say about it, but it was the perfect remedy for a cold and depressing morning.

Wow, this was great. Amazing production. Cool beats. Good lyrics and solid flow. Another great new discovery!

i had a hard time sorting out my feelings on this one. At times I found it too smug and I often thought they were punching down. But other songs seemed to hit just right. It's hard to do satire well. The Kinks mastered it, Zappa did, too (sometimes), and Blur did as well (but they also sometimes punched down, or at least across). I enjoyed the theatricality of this one. This is yet another album from a band i'd never heard of before. i feel like i've entered an alternate dimension. I like it over here.

an easy 5. everything about this is so great. it's beautiful and raw. the harmonies, the songwriting, the performances. plus, they influenced so many bands. Personally, I would have chosen Radio City over this one, but this one is still amazing. I got to see the Big Star Quintet this summer, consisting of original drummer Jody Stephens, along with Mike Mills from REM, Jon Auer from the Posies, Chris Stamey from The dBs, and Pat Sansone from Wilco. They performed all of Radio City, plus all the hits from Big Star's other two albums. It was an amazing night: amazing musicians performing beautiful music with love and reverence. I don't know if they'll tour again this year, but if they do, don't miss it.

I... enjoyed this. I wasn't expecting to, but I kind of got swept away by the textures and the repetition. why I liked this more than almost every EDM album I've heard, I can't say. But something about this one grabbed me and wouldn't let go.

I struggled with how i felt about this. I admired it more than liked it. Not sure I'd queue this up again anytime soon, but I'm feeling generous this morning, so i'll round up to a 3.

meh i mean, dude's talented, but i've never been able to connect with anything he's done outside of Buffalo Springfield of CSN(Y).

I loved this. I thought her other album Under Construction was just OK, even though I remember liking her. This album, though, is fire. I loved the chill grooves; the beats were fantastic; and she's a commanding and versatile performer.

Yeah this was pretty dope. Gave me serious Marvin Gaye vibes but still had its own thing going on. I dug it, though it was a bit long.

Boy that first track brought me back. What a timeless and distinct voice she has. The production and arrangements really zap this thing of any life. But her voice is foine. I really would have loved to hear her with 1960s production values. Imagine her singing with the Coltrane Quartet, a la Johnny Hartman.

Not sure why I never got around to listening to these guys. This album was killer. I think I'd need a few listens to really determine if this is a 5, but it's definitely a 4. What a great sound they had. Great energy, interesting compositional choices. Great stuff.

I was into this at first. A little Henry Mancini, a little Quincy Jones. But I don't love original motion picture soundtracks for real films (not counting soundtracks that have existing songs on them, like Guardians of the Galaxy), and this one got a little old. it's quality stuff, just not my bag.

I was not expecting to like this, but I gotta say it was pretty fun and creative. The production was on-point, and his flow was pretty great. I liked the darker turn it took later in the album. A pleasant surprise! ...And... I just learned that he sucks as a human. Fuckin' hell.

I've never been able to get excited about these guys. The songs are cool enough. But there's a sheen of meh that glosses over their sound. Maybe it's the arrangements or the performances. i don't know. Even when they were rocking out it didn't sound like anyone was terribly excited to be there. Still, giving this less than a 3 seems mean.

On paper, I should love this. But I could never get too excited about these guys (or Bob Mould in general). The songcraft is there. The performances are OK, I guess. But there's something lacking, and I can't quite put my finger on what it is. There are definitely some good songs, though, no doubt.

I know this is often considered their first masterpiece, but it's my least favorite of their first four albums. There are certainly six or seven all-time classics on here. And man, the greats are ridiculously great: The chords on If I Fell; the three different bridges on You Can't Do That; the infectious joy of the title track; John rhythm guitar on I'm Happy Just to Dance with You; etc. etc. But side two has some filler. It feels weird giving any Beatles album less than a 5, but if I'm being honest with myself, I just don't love this one.

Glorious from beginning to end. The bass playing alone is worth 5 stars. Yes, there's a little too much Jesus for my tastes. Yes, the middle part of side one (Save the Children) is a bit too earnest. But damn, the great songs are simply transcendent and the song cycle is so moving and majestic the way it ebbs and flows, I can't begrudge a few minor complaints. The dude had a vision and he executed it flawlessly with some of the greatest vocal performances of all time. Truly magical.

boy the sigh i sighed when i saw today's album was loud enough that my wife called to me from the other room to make sure I was all right. This guy's voice just grates on my last nerve. Plus, he's so plaintive, and the last album was so self indulgent, it made me wanna barf. But I didn't hate this one. Decent songwriting, cool production and arrangements, etc. etc. to sum up: I'm not a fan, but I see why people are.

Musically, this album is pretty dope. It's such a great summer vibe, it's hard not to sway and nod. Lyrically, though... sigh. Like, I get why he became a star. He's got a unique flow and he's clever. But the misogyny is tiring. And I can see doing one song about partying, but damn a whole album?

What glorious harmonies! I had no idea this record existed. As with any Nashville album the production, performances, and arrangements are immaculate. There was only one song that sounded at all like it was recorded in the 80s, so this one is pretty timeless. My only complaint is that it's very pretty; it just didn't seem to be more than that. Maybe that's on me. I'm not sure what else it needs to be. But I guess I just wanted some more depth. You have three of the most talented performers of the 20th Century working together to create an album that didn't feel as momentous as it should have. But like I said, maybe that's a me problem.

I wasn't sure how well this one would age as it's been a few decades since I listened to it. But man, it was like catching up with an old friend and picking up the conversation right where we left off. This is one of those bands where they just see things differently. Like, I thought I knew how music worked, but then I hear a song like Fame Throwa and I realize I know nothing. Pavement songs just operate by their own rules. Same with their lyrics. Even when I can understand what he's saying, I'm still not sure what he's saying. And yet I remembered every damn line of this thing. Some guys just have that knack. I know their slacker attitude might be off-putting for many, but there's something about it that works for me. This was highly influential for me, so I can't give it anything less than a 5. But I'm glad it still slaps, so that 5 isn't just nostalgia speaking. (Marianne, this is about as "Scott" an album as there is.)

Man, I so want to love Joni's jazz period. I love jazz. I love Joni. Seems like a match made in heaven. But there's the muzak-y haze over the proceedings that cloys at me. It started with Court and Spark, but somehow it doesn't bother me as much on that one as it does on this and Hejira. Also, I just don't love the compositions from these two albums as much as her earlier work, even though I admire their freewheeling boldness. It's definitely a me problem not a Joni problem. My loss.

Fantastic. I was a big fan of his Blonde album, but for whatever reason, I never got around to checking out this one. I love it. Maybe not quite as epic as Blonde, but damn close. And if I had time to spin it some more, I might even bump this up to 5 stars.

White Rabbit and Someone to Love aside, listening to this album makes me want to side with the establishment.

I guess I just wasn't in the mood for this one. Had I heard this back when it came out, I think I would have enjoyed it. But today, I struggled to care. It seems fine enough: well thought out and lots of care put into it and all that. But it failed to find purchase in my excitement bin.

The music was actually pretty cool and atmospheric. The singer, though. His delivery reminds me of Matt Berry's acting: stressing words in the weirdest way possible, making it hard to actually understand what he's saying. Of course, Berry does it for comic effect. Sometimes, giving a star rating seems besides the point. I guess I'll give this a 2 given how much I think this belongs on this list. But I didn't dislike it. It was fine.

I'm surprised I never heard this before, given my predilection for lost classics. I enjoyed the heck out of it, especially the spacey title track. This is a cool album and I can see how influential it was. I'm surprised that it was so hated upon its release.

The 80s production is strong with this one, and I never cared too much for Shout or Everybody Wants to Rule the world. But Head Over Heels is an absolute banger. In fact, that mini suite was fantastic. This is a 3 in terms of my personal enjoyment, but I'm giving this a star higher because I dig their ambition and their lyrics. This is smart music, well presented and performed. It's just not my bag. (Having read Niko's review, I think she nails why it never really grabbed me. Too self-important and humorless. Still, it does what it does well.)

Whoever recorded that bass crushed it. It's so visceral and perfect. I was familiar with the opener and Sally Go Round the Roses. Both of those are fantastic. The rest didn't grab me, even though I appreciated the excellent musicianship. 2.5, rounded up to 3 just cause.

A sultry and soulful listen that's aged like a fine wine. At times it's a bit easy listening for my tastes, but that's the only knock I have.

Man, I was sooo not in the mood for this kind of music today, but they won me over. This thing rocks. Not sure I cared for the singer, but everything else was great. Reminded me a bit of Slint, though heavier. This might even climb to a 5 if i ever get around to hearing it again.

I didn't hate it. At times, it got kinda creepy, which I dug. But when the electronic drums came in, I lost interest.

I've never found these guys compelling. They play hard, but somehow still fail to rock. Navarro's all right, but Perry bores me, and his lyrics are tiresome. They have a couple of songs that are OK and only one great one (Been Caught Stealing), which isn't on this album. Overall: pass.

At times, this can be pretty mystical and hypnotic. Other songs didn't work as well for me, but man, when it works, it's something. That first tune is fantastic.

yeah, i don't know. i've always thought this was overrated. i enjoyed it more today—it has some magical moments—but in general, it's a bit too sloppy and too flower-powery for my tastes. i dig that they were making a ton of punk-adjacent noise back when that was groundbreaking. but others did it better.

no thanks

Hardcore isn't my favorite, but I dug this. Short and sweet. I'm kind of surprised I'd never heard it before because I certainly knew OF the Circle Jerks. Anyway, great stuff.

A classic for a reason. Dude's wordsmithing skills are unmatched. Knocking a star off because musically, it's lacking a bit. Like, I get that this is old-school no-hooks hip-hop. But it's a lot to take in. I've listened to this album many times, but today was the first time I was able to get through the whole thing. Fatigue sets in after about 5 songs. but damn can that man rap.

yeah, this was all right. i was familiar with The Knife, but I think I liked this better. It's a bit bleak, but I dug it. Not sure it belongs on this list, but it was nice to be exposed to it.

i'm surprised i never checked this out before. it's always been on my radar, but today was my first listen. ... not super impressed, honestly. i mean, it's fine, but I think it had been built up in my head as this watershed krautrock release. but it seemed kinda bland. side two was better, but by then i'd checked out a bit.

I LOVE Astral Weeks and really enjoy Moondance. This album simply made me mad. Is one star too harsh? Yes. The performances were fine. Had I gone to this show I would have had a fun time of it and been excited to watch him play my favorites. But for years, this album has been in various best albums lists, and I truly don't get it. This album is pointless. The studio versions are way better. And on this list, it's taking up a slot that could easily go to 50 different albums.

i'm surprised how much i disliked this, given that i like everyone involved. but boy oh boy did it bother me. it was plodding and ugly and i was never engaged. maybe i just wasn't in the mood. giving it one extra star just cause.

My first time hearing this. God, that dude can play the guitar. What a treat he is to listen to. So melodic and tasty. The compositions are rather slight, however (save for Sultans), but overall, this was a cozy and chill experience. Personally, I would have chosen Making Movies for this list instead.

Wow, this one blew me away today. I've been a Big Star fan for decades, but this album never did it for me. It was too depressing and the mix was awful. Today, I started listening to the standard release and was bemoaning how awful it sounded. But then I did a little digging and discovered the Complete Third version (which came out in 2016) and hot damn what a difference that made. Finally, a release that gave life to these bizarre, self-destructive, often-beautiful, and sometimes-unfinished songs. I recommend starting on track 50 and letting it rip. The sequencing isn't the best, but that's a small price to pay. (Actually, my only issue is placing Downs so early on.) What Smile is to the Beach Boys, Third is to Big Star. It's not the best place to start your Big Star journey as it sounds nothing like the power pop band that put out Number One Record and Radio City. But if you want to hear some incredible songs that influenced a generation of musicians, this is a must-listen.

Fantastic. Thoughtful songs, beautifully performed, with original and interesting arrangements. Not sure why I'm not giving it a 5. maybe i just need to listen to it more and I'll revise.

They make a big noise, but i failed to detect any sense of songcraft. they're obviously big fans of Captain Beefheart, Pere Ubu, and Sonic Youth, but all those artists—as chaotic and noisy as they can be—know how to write a song. Also, the singer did nothing for me.

Yeah, this was decent. All I Wanna Do is one of my favorites. Such a great groove. The rest was solid. I dug the last song. I remember liking her self-titled album a bit more.

I was a bit dismissive of this one at first. It sounded nice, but it lacked depth, maybe? But it grew on me as it played. The lyrics were often pretty interesting. By the end I was rather enjoying myself.

I've tried listening to this before, but for whatever reason, other than the title track and The Passenger, nothing quite clicked. Until today. Damn I loved this. Bowie's production is so easily identifiable, especially that drum sound he gets. Reminds of his work with Mott the Hoople. The song Tonight had the same bass sound from Heroes. Loved it. This was a perfect blend of Stooges and Bowie for me. Fantastic. I guess I need to revisit The Idiot, since everyone else liked it more than me.

This is one of my favorite albums of all time, so an easy 5 for me. The songs are slight compositionally, but the album is better off for it. The band is tight and loose. And the recording sounds gorgeous. Those drums! That bass! Iggy howling like a caged animal! For my money, this is the greatest rock album of all time and it just gets better the more I hear it.

I never especially cared for/about T.Rex, though yesterday's listen was fun. I dug how chill, groovy, and off-kilter it was. i got a bit tired of it towards the end. the compositions are a little too basic for my tastes, though the arrangements often kept things interesting and his lyrics are fun and playful. it's probably more of a 3.5 but I'm rounding up just cause I like their verve. (if you haven't already, check out their earlier folk incarnation, Tyrannosaurus Rex. very weird and fun.)

I'll confess I didn't give this one a close listen (too busy), though i've heard many of these tracks over the years. These guys never really did it for me, but there's no hate.

If you want chill Beck that's still inventive and fun, check out Mutations. This one is boring and derivative.

The opening two tracks are perfect pop masterpieces. The rest of the album is solid, though the songwriting is mediocre, but the songs are saved by the stellar production and arrangements. I never like MJs ballads, but the groovy tunes are fun and light. It got a bit samey towards the end, but maybe that's just me.

I was familiar with the music of Ornette and had heard John Zorn, so I was (somewhat) prepared for the onslaught. Still, it took a few songs to tune into their wavelength. Once I did, though, I was rewarded with killer chops and a punk approach to old-school avante garde jazz. My only gripe is with the sequencing. So many of the tunes sounded the same, with many of them even being in the same key. Things didn't really differ until the last quarter of the album. If they could have varied it up a bit I would have enjoyed this more. Still, it was a nice change of pace and it made me want to revisit Zorn's and Coleman's music.

I just don't enjoy this kind of music. Maybe I don't know how to have fun. But it doesn't strike me as something I need to hear before I die. Frankly, it seems like any other album in this genre. But what do I know?

Yeah, this one's OK. Coupla groovy tunes. But it's not essential. Frankly, it feels a bit tame. Brain Capers, on the other hand ... now that is a killer Mott record. i'm wavering between a 2 and a 3. eh, i'll round up.

I'm glad this was on the list. He's such a huge part of mainstream country music, but I haven't had much experience with that genre, so aside from a few hits, I'm unfamiliar with his work. (I've tended to only listen to the so-called outlaw country greats: Johnny Cash, Willie Nelson, Waylon Jennings, etc.) It's easy to dismiss old-school mainstream country as sappy and/or corny. Partly because it is. But there's a wit to the songwriting, like O'Henry short stories. And the arrangements and musical performances are top-notch. (I love the Jordanaires back-up group. Subtle and warm. No wonder Ween used them for their 12 Golden Country Greats album.) Jones is a great country singer, of course. I think in lesser hands, these songs wouldn't work as well. My only problem is I got tired of it about 3/4 of the way through. Could just be because I'm still a country music tourist. But whatever. Anyway, this was a nice listen. Glad it's on the list.

in what universe is this an album someone must hear before they die? tepid tunes, horrible '80s production, muzak-y arrangements. the only thing it's missing is a dentist asking the hygienist to pass the drill.

Ah, Mark E Smith and The Fall. Smith is one of the most literate and irascible figures in music, and he arrives fully formed on this debut album. He, like Johnny Rotten and Karen O, so dominates the proceedings that it's almost hard to hear the band behind him. They're a bit raw on this one, though I was into it on today's listen. There are three Fall albums on this list, which is probably two too many as you're either going to enjoy Smith's "singing" or it's going to irritate the hell out of you. But if you dig it, boy are you in luck, because there are about 1.5 million Fall albums, and they're all good. Having said that, I think they're best served by the two compilations A-Sides and B-Sides.

Oh my god I love The Kinks so much. I think Ray Davies is my favorite songwriter. He certainly my favorite lyricist. I love his empathy and his knack for telling stories about little people. And when he cracks jokes, he always punches up and it's all in good fun. This is the beginning of their peak era, though if I could, I'd give it a 4.5 just because the production is a little weak. It works well enough on the more raucous tracks, but not on the more subtle ones. (Imagine if the Kinks had a George Martin helping them out.) Still, this one is packed to the gills with brilliant songwriting and arrangements. And the energy is great. God save The Kinks!

Wow, I loved this. I'd never heard this before and yet I feel like I've heard it my whole life. It's so evocative of a time and place and yet so timeless at the same time. Those guitars! That pedal steel! Those harmonies! Mid-Century Americana at its finest. Man, for all my griping about the various poor choices the list-makers made when compiling this book, they really crushed it with these old-school country selections.

Boy, I was not in the mood for this one today. I thought I only liked The Fall in small doses, and we just had Live at the Witch Trials. But, damn, a few songs in and I was grooving on this more than I ever had before. Loved the tribute to Can's Damo Suzuki. Fantastic.

There are great albums, and then there's Revolver. It's ambitious, inventive, and avant-garde, but it's also charming, inviting, and fun. And the fact that it might not even be their greatest album is such a testament to how fucking great The Goddamn Fucking Beatles were that its no wonder they are so revered to this day. And I think we might not even revere them enough. This was my favorite Beatles album from the very first moment I heard it. It had the adventurousness of their later period while still retaining the joyful pop of their early period. It was perfect. Then the CD came out and I got to hear the original British version, which included three extra songs ("I'm Only Sleeping", "And Your Bird Can Sing" and "Doctor Robert")... and my head exploded. This perfect album got even more perfecter. I'll never forget hearing Tomorrow Never Knows for the first time. I must have been about 12. It was Christmastime, and my parents took me to Penn's Landing. Earlier that day, I'd bought Revolver on cassette, and I listened to it in the car for the trip. We were headed back home when TNK came on. The music (that drum beat! those seagull sounds! that tambura! those lyrics!), combined with the Penn's Landing Christmas lights, just absolutely melted my brain. I've never recovered. I didn't know music could do that. The range of musical styles on Revolver is outrageous. And the fact that these disparate songs all sound so good next to each other simply defies logic. How do you go from Taxman to Eleanor Rigby to I'm Only Sleeping to Love You Too to Here There and Everywhere to Yellow Submarine? It shouldn't work. And yet they all flow so perfectly from one to the next, it was like they were destined to be that way. And yet, with all the stylistic ground being covered, all the ground-breaking innovations, all the harmonies, melodies, sounds, noises, and rapturous vibes on this 14-song beast of an album that changed popular music forever, the fucking thing clocks in at just 35 minutes. If I were to reduce this entire list to just one single album, I'd pick Revolver. It does everything; it does it perfectly; and it leaves you craving more. And it might not even be their best album.

It's a bit shit, but I feel like 1 star is too mean.

I don't get the whole Randy Newman thing.

Yeah, I mean, this is mid-70s Stevie Wonder, so I feel like I'm grading a bit on a curve. This one's a bit tepid compared to his other greats, but the groovy tunes are among his best songs. Still, I don't think we need four back-to-back Stevie albums on this list. Give us Talking Book and Songs in the Key of Life and we're good.

I've always liked Billy Joel. He's a good songwriter, and he has a gift for melody others would kill for. I've never been a super fan (I basically just like the hits), but I've also never understood how it became fashionable to hate on the guy. I mean, yeah, he can be a little cheesy, I guess, but it's a good, melty cheese that makes for a killer sandwich. Anyway, this album is insane. His label was ready to drop him. Told him he needed a hit or else. He said hold my beer motherfuckers, and produced what is essentially a greatest hits album. The band is tight, and the arrangements are fun. It's a bit cheesy. It's a bit rock-and-roll. But it's definitely a killer sandwich.

I bought a copy of this back when I discovered "outsider art." It didn't speak to me at the time, but this time around, I kind of got it. It's often hauntingly beautiful. It also feels very exploitative. Clearly Spence was unwell and we're listening to his mental demise here. Having said that, this album inspired a slew of people, including Robert Plant and Tom Waits, and it gave Spence a legacy beyond just being one of the band members of Moby Grape. As an album, it's a bit much. But it's a great source for mixtape material. (Fun side note, it's the only album I've ever heard of that was recorded on 3-track.)

I kind of skimmed through this one yesterday, annoyed at having to deal with another electronic music album. This morning I thought I should give it a second chance, and it appealed to me more, but not enough. As someone who's a fan of dub but not electronic music, though I can't say why. Dub entrances. EM annoys the everloving shit out of me. Even a song like Wilmot, which is essentially a dub track, drove me batshit. I still don't know the answer. Also, how is there not a single dub album on this list?

I've always been underwhelmed by this. There are some nice moments here and there but I think others took their torch and lit brighter fires. Decent playing on here, though.

What a debut. Harrowing, uncompromising, and fully formed. How do you start a band like this? (Guitarist seeking sheet-metal banger. Influences: power tools, Nietzsche, early Fleetwood Mac.) I owned a compilation of theirs, but this was my first time hearing this album. Now I understand where early Sonic Youth came from. I really loved the textures and the atmosphere. Would be nice to know what he was singing. OK, maybe not "nice," but interesting. Dinging it one star because the second side wasn't quite as tight. I need to listen to more of their music. The Serge Gainsbourg cover cracked me up.

This is one of the three albums that I consider my all-time favorites. (Revolver is another. We haven't come across the third one yet.) I love every second of this record, and every song has been my favorite at one point or another. On today's listen, I marveled at how gorgeous the guitars and dulcimer sounded. If I can distill my love for this album to one moment, it's the opening line. ("I am on a lonely road and I am traveling, traveling, traveling, traveling.") The fact that she sings a variation of the line first and the "standard" version later on is such a baller move. It gives the song instant familiarity and makes it feel like an old standard. Nothing can ever top Blue. It's beautiful and perfect.

I'll just echo what so many of the other reviewers have said: This is a fine collection, though often marred by '80s production. It's best when it's just him (last 3 tracks). The collaborations mostly don't excite (though I liked the Canned Heat and Los Lobos tunes). Dude is still bringing it at age 73, so hats off to him! But let's give the legend his due and scrap this album in favor of one of his '60s recordings that inspired pretty much every British Invasion band.

I don't know. It's frenetic and the musicianship is there. There are some cool things going on. But about five songs in, I was over it.

I enjoyed this way more than I thought I would. I'm not the biggest Steely Dan fan, but this one worked for me. I particularly liked Maxine, though I found every song hit its mark. I'm between a 3 and a 4 on this, but I'll round up to 4 just 'cause.

Honestly? I thought this was pretty great. Lots of great sounds and textures and they have enough melodic bits to keep me engaged. It's got great punk attitude. Also, that drummer is a beast.

Blue Suede Shoes has to be one of the most baller openings ever. It's so damn fantastic it overshadows the rest of the record. In terms of influence, it would be hard to find a more important album than this one, so it definitely belongs on this list. As an album to listen to, though, it's uneven to say the least. The best tracks are the unreleased cuts from the Sun sessions (his ethereal take on Blue Moon being on of my faves). The newer tracks (Aside from Blue Suede Shoes) are, frankly, pretty bad. If you want to hear the birth of R&R and an album that is all-killer-no-filler and a totally magical experience, check out The Sun Sessions. I get why they didn't include that album, seeing as it's a compilation, but it's so much better than this one. Killer album art, though.

I found it kind of boring. The singer doesn't really bring much to the proceedings. Not sure why it's on the list.

10-15 years ago I attended a music conference in Vegas at the MGM Grand. At one point, I went to the men’s room, which was the largest I have ever seen. Had maybe 20 urinals on one wall. The place was empty. I went to one in the middle. A few minutes later a chap comes in and goes to the one right next to me. I looked up to be like, Bro WTF, and who do I see but Mick Fleetwood. He nodded politely. I did not look down to see if his balls looked like the ones on this cover. But I'm gonna assume so. Now for the album: Yeah, I mean, it's Rumours. It's ridiculous. I Don't Want to Know is OK and Oh Daddy is pretty bad, but the rest are tremendous. This time I was struck by how counterintuitive some of the arrangements are. btw, I don't love the 2004 remaster. Some of the tunes sounded hollow, and the levels from song to song were all over the place. Time for a redo!

Yesterday we had Rumours. Today we have this. I'm sensing a theme. Not sure what I can add to the conversation except to say that this is the best-sequenced album ever. Every song perfectly flows into the next, which shouldn't be possible given how disparate and wacky these tunes are. The less-good songs work like pillars holding the loftier tunes up to the heavens. It's perfect, but if any song were displaced it would bring the whole thing crumbling down. Oh, and let me make the case for Revolution 9. I love this song. I think it's incredible. It's not noise, it's music. There are motifs and themes and callbacks. There is structure and dynamics, and the energy ebbs and flows. It's practically hummable, and it always thrills. And I love how much of disc two feels like it's leading you there, with songs that deconstruct themselves (Helter Skelter, Yer Blues, Long Long Long and the snippet Can You Take Me Back Where I Came From). And not only is Rev 9 so great and so inevitable, but then they follow that up with the catharsis of Good Night, which again is such perfect sequencing, but in hindsight makes you wonder how they could have pulled off such a magic trick. [Also, be sure to check out Revolution (Take 20) to hear where so many of the elements of Revolution 9 came from. https://www.youtube.com/watch?v=ku6HXL9RqHQ ] I know I said that Revolver is my favorite, but sometimes this one is because there's so much to enjoy, and I'm always discovering new things. (Today's discovery was the delicious anti-solo on Yer Blues.)

I tried. I failed. my overall impression is that there's is much ado about nothing. lots of stuff happening. lots of emoting and sounds and so, so many notes. and it all added up to squat.

Other than the hits, I'm not familiar with Petty's music, but I suspect this isn't the best album to include on here. Damn the Torpedoes, maybe? Anyway, this was all right. It's swampy and grindy. I don't love his singing, though he would improve. Overall, I liked this well enough. Not sure I'd reach for it again, but it's a solid debut.

This went down a lot better than I expected. But anyone who samples Miles Davis, channels Can, and features Augustus Pablo is all right in my book. There was a lot of variety on here. Some of the tunes worked better than others, and the whole things kind of fizzled at the end, but this was pretty dope and spacey.

It's weird. I dig PJH. I dig Albini. I don't dig this record. It's just so willfully ugly. And normally I dig ugly, but this thing plods. And I can't with her voice on this one. And the compositions grate. And I don't know what she's singing about because her vocals are recorded so poorly, I really want to like it. I really don't.

zzzzzzzzzzzzzzzzzzzzzzzzzzz

boy, i haven't listened to this since it came out, and i forgot how great it is. it's amazing how much noise these two make and how much range they have. it's charming, fun, funny, angry, rebellious, esoteric, and raw. quite a feat. it feels more like a 4 to me but i can't find anything to ding it, so we're going with the full 5.

I never took to this guy. i think he's overrated as a lyricist, and the beats are all right, but pretty standard for the time period. he has good flow, though, and his voice is cool. i didn't hate it, but he kind of gives me the ick.

Good lord there's a lot of britpop on here. This is fine. Their effects-drenched guitars lend a nice psychedelic air to the proceedings. But man, their whiny, nasal voices are a bit much. Still, the songwriting is pretty decent.

This started off all right. There are a few groovy spacey songs that I rather enjoyed. But there were plenty of songs that just took up time. Others sounded too much like Spacemen 3, but not as good. And that one tune with the dude singing like Dylan was weird. I really don't see why this is on here. I feel like the list defeated me today.

The music was often compelling, and the lyrics, when I could understand them, were often quite dark. But it's hard not to be distracted by the vocals. Sometimes it worked, though I can't help but feel that this is yet another album that's on here thanks to the British slant of this list.

I think this was my first time listening to this, although I was familiar with the hits and the ones featured in the Harold & Maude soundtrack. Overall, good stuff. Some of it was a little twee for my liking, but the songs that have that gruff Cat Stevens rhythm are quite enjoyable. I wish there were a 3.5 button.

Yeah, I dug this. I knew Cars, of course, but this was my first time hearing this album. Not sure why I avoided it all these years, other than I'm not typically a fan of electronic music. Shame on me, because this thing is pretty awesome. The decision to use a human drummer was crucial to the project's success. Had he used a drum machine, I think this would have been insufferable. As it is, though, this thing rocks. Docking it one star only because two of the songs sounded too much like Cars for my liking, but the rest of it was killer.

I forgot how great this thing is. The interplay between the three of them is amazing, though Lauren is clearly the star. It's fun, it's creative, it's catchy, it's chill but also simmering, and it's the perfect gateway drug to hip-hop. My only complaint is with the sketches, but they're easy enough to skip over.

I'll admit I rolled my eyes when I saw what the selection was. I didn't care for the last one we heard by her, so I was not looking forward to this one. Shame on me. I was definitely impressed by this. I like the eastern elements and other exotic touches. At the end of the day, I'm not sure that I love her as a lead singer, but I thought everything else was solid. This is more of a 3.5 I think, but I'll round up just 'cause.

not a fan

Chill, groovy, spacey, often formless, and always mystifyingly beautiful, this is Can's last masterpiece. It's amazing that an album as out-there and avant-garde as this one can also be so easy to digest. Like the music from Miles Davis' funk period, there are moments where you wonder how in the world is this hanging together. Two words: Magic.

I appreciate the sophistication and subtlety, though I found the whole thing a bit tepid.

I dig their energy, but I'm not quite sure it all gels together into a cohesive whole. I'm not sure I would have seen Nick Cave as someone with lasting star power.

I was a little hot and cold on this one. It's fun and silly and groovy, and it comes out of the tradition of George Clinton and Fishbone. When it worked, it worked really well. There were, however, a couple of songs where the lyrics were questionable (at best), and they left a sour taste in my mouth. It's an artifact from hip-hops teen years, so I guess a little immaturity and bad taste is to be expected. Not sure if this belongs on the list, but when I enjoyed it, I enjoyed it a lot.

OK, so no one should listen to Kanye because he's a garbage human being. Having said that, this one's pretty great. Some of his best songs are on here, though as a whole I've never loved it as much as most people do. Plus, I hate that stupid Chris Rock bit. Shout out to Nikki Minaj for her career-making turn on Monster.

I never cared for this one as much as their debut, A Can of Bees. Today though, this one hit a bit harder. I still don't love it as much as some, but it's definitely fun and interesting and a little wacky.

I get why people don't care for this. It's not cool. It doesn't rock. It's corny and goofy. And this version of Smile is a bit of a Disney-fication of the original. But of course, the original never came out. And frankly, the fact that we got this was a miracle. I'll never forget listening to the compilation album, Good Vibrations: Thirty Years of the Beach Boys and hearing the Smile sessions for the first time. (I'd heard <of> Smile, of course, but the only inkling I had of what it might possibly be was Smiley Smile—a record I've since come to love, but one that in no way represented anything close to the supposed masterpiece that was this lost classic.) On this compilation album, I couldn't stop listening to Our Prayer, Cabinessence, and Wind Chimes, but the two that absolutely floored me were the Zen koan that is Wonderful and the gorgeously apocalyptic Surf's Up. (The latter is still one of my favorite songs of all time.) Hearing these songs did something to me. They were mystifying and puzzling and endlessly fascinating. I finally understood the whole "Brian Wilson is a genius" thing. I, like so many BW acolytes before me, sought out Smile bootlegs, and then I attempted to make my own. I just HAD to see how this bizarre album fit together. What to make of all these weird instrumentals and nonsense vocal arrangements and animal sounds and all the starts and stops and snippets and motifs? I listened to bootleg after bootleg and I felt like I was getting closer and at the same time, I resigned myself to knowing that I'd never reach the finish line, or that they never had been a finishing line in the first place. Like one of the lost plays of Shakespeare, we would never have Smile. And maybe it was for the best. How could it ever live up to the hype? And then suddenly, this came out. Nearly 40 years later. And not only was it good, it was way better than I had ever expected. All those fragments fitted together so perfectly. (Every bootlegger had been wrong about song sequencing. We all had Surf's Up as the last song, but this sequencing was so much better.) All those crazy instrumentals suddenly had lyrics and melodies and were no fully fledged songs. But the thing that struck me most of all was that Brian had been SOOOO close to finishing the damn thing in 1967! Of course, it's not perfect. Brian can't sing like he could back in the day, and although the Wondermints do a stellar job, they aren't the Beach Boys. And the production is a bit muzaky at times. This album is missing a bit of soul and all of the biting bitonality that infused the original sessions. (Although, if I'm being honest, the original sessions sometimes sound like ass.) But fuck me, we got a gift. A gift no Beach Boys fan ever expected to get, and a gift that keeps on giving. God, there's so much to enjoy on this thing. All the recurring motifs—the subtle foreshadowing and triumphant callbacks. The sheer magnitude of Brian's ambition. His musical celebration of America coupled with Van Dyke Park's critique of it. I could go on and on (and have!). It's an interesting thought experiment to consider what would have happened had Brian completed this in '67. I'm sure it would have been a commercial flop, just like Pet Sound was. But I'm also sure it would have blown minds and inspired his contemporaries just like Pet Sounds did. I like to think it would have kept him sane and energized and productive, and I like to imagine it would have inspired him to even greater heights, but who knows? He was a troubled man who had suffered so much and whose psyche was so fragile, it's possible he still would have crashed and burned. At any rate, we got this. Brian's fans celebrated, and he got to revel in our love, appreciation, and gratitude. And I hope it made him smile.

What a great trip down memory lane. This thing holds up well, and it brought me back to the senior year of high school (the album had been out for eight years before I discovered it). It was cool to finally have access to the lyrics. So that's what he was saying all this time? (Not sure it helped my understanding all that much, but it was nice to read along.) This is one of those albums that made an enormous impression on me at just the right time in my life. It must have been years before I could *stop* singing like Michael Stipe. And as much as I loved Peter Buck's guitar, I think Mike Mills' bass playing had a bigger impact on me. That tone still sounds so great. Just about every song hits its mark, though 9-9 is still my favorite of the bunch. Lifes Rich Pageant might be a better album, but I don't know. This one's pretty special.

I love Miles Davis, but electric Miles truly sends me. This period, from In a Silent Way through Get Up With It and all the live albums in between, represents the greatest streak any artist ever had this side of The Beatles. It's peak music. Every album takes the listener on a bold journey into parts unknown. I know Bitches Brew can be overwhelming. It's a double album; the first two songs are 20+ minutes long; it's dense and nonlinear, and let's face it: it's jazz fusion—a sub-genre that (quite rightly) evokes a lot of strong, negative opinions in people. This album is like one of those Magic Eye images. It appears like a jumbled mess until you figure out how to unlock its secrets. Few people love this album the first time they hear it. My suggestion is to start with 'Spanish Key' or 'Miles Runs the Voodoo Down'. They're much more accessible. Voodoo is essentially a standard jazz tune, featuring soloists and all that. It's just the groove that was new. (But, man, what a groove.) Spanish Key features a strong, catchy theme from Miles and a killer keyboard riff that always sends me, no matter how many times I hear it (around the 3:12 mark). The best parts of Spanish Key are the sections without any clear soloist, just a bunch of amazing musicians all vibing off each other, stabbing out chords and guitar lines, and just generally keeping the groove going. If you can dig those two songs, the rest of Bitches Brew (and the rest of Miles' electric period) should fall into place. It's funny to me that jazz critics accused Miles of selling out. Yes, this album sold well, but hot damn, few albums have ever been as out-there, as bold or ambitious as Bitches Brew. Miles didn't just swing for the fences on this one; he built a bigger stadium, squared off against an 'roided-out reliever, and still managed to hit a grand slam. Fifty-plus years later, this thing still sounds ahead of its time. (btw, if this music intrigues you, check out the live version of Spanish Key on It's About That Time: Live at the Fillmore East for a stripped-down-but-incendiary version of that tune. Or if this one's still too much, just check out his cover of Crosby Stills & Nash's Guinnevere from around the same time. It's just beautiful.)

This was a nice listen. I'd only ever heard a compilation from these guys, so it was cool to hear some album tracks. I'm not sure what it is about them. They're fun, they're tight, they're catchy. All good things. But their music, as energetic as it is, lacks excitement. These guys are great for having a song or two in a soundtrack or mix tape. But a whole album... it's nice, it's just... well, it's just nice.

Pleasant enough. Not really sure this is a must-listen, but I didn't mind the time I spent with it.

No one should listen to Kanye. Having said that, this was the album that got me into hip-hop. I mean, I'd liked a few songs here and there. I was obsessed with Grandmaster Flash back in 4th grade, but mostly, I didn't care for the genre. But then I read so many great things about Yeezus from guys like Pete Townsend and Paul McCartney and Lou Reed, and I was like, "Kanye's good? That ass clown? Come on, now." But I decided to check it out. This album blew my mind. I didn't know hip-hop could do that. And then hip-hop became the only genre I listened to for several years, so this was an incredible gateway drug for me. But don't listen to it or any other album by Kanye anymore. It's a shame because he was truly gifted, but there are plenty of other artists out there.

This was fine. I suspect if I'd like it more if I gave it a few more spins. The best part was hearing Gene's voice and realizing who'd been singing all those great Byrds songs. I always thought it was McGuinn.

She's obviously talented, but boy, I can't connect with her voice or the material at all.

God, what an album. Such a fine example of an artist achieving superstardom without compromising their vision. While I enjoyed this at this time, I never loved it. I was wrong. Too young to grok how great this was. Every song is catchy and accessible but also densely populated with intricate and often weird details. Strange time signatures, exotic instruments, songs that take unexpected turns. The lyrics are fantastic. The guest performances iconic. And Peter's singing is expressive without being over-emotive. This gets my vote for best album of the '80s.

In '92 I attended a music conference in NYC. One night we went to see Mudhoney. The Flaming Lips opened. No one knew who they were and maybe only twenty people were there. I leaned up against the stage and proceeded to have my mind blown. They were incredible: noisy, weird, and most of all, fun. I went home and bought every CD I could get my hands on. I was obsessed. Every new CD was an immediate buy. I even got Zaireeka and we played it in the office on four work computers. Soft Bulletin was a nice departure from their earlier guitar-driven albums (though so was Zaireeka), and it was nice to see them gaining fans without compromising their sound. I like Yoshimi just as much. But then one day I just stopped listening to them. Not sure why. Maybe At War with the Mystics didn't wow me; maybe it's because I had kids; I don't know. I would pop on the occasional song but I never felt the need to revisit their catalog. So today was nice. I hadn't heard this in twenty years and was a little worried I wouldn't connect with it. But connect I did. It's great. Epic and playful, dense and airy, profound and silly; avant garde, childlike, trippy, sweet, and other adjectives as well. Glad I got to hear it again. I haven't heard any of their music since Mystics. Guess I have some listening to do.

It's funny. I'm never in the mood for The Fall, and yet, every time I put on one of their records, I'm all in. They kind of defy logic for me. When I read the negative reviews for them on this site, I basically agree with everything people say. The dude not only can't sing, but he has a distinctive delivery that can absolutely drive people insane, and what's more, thanks to his accent, I can barely understand half of what he's saying. On paper, I feel like I should hate this. And yet, somehow I don't. The band keeps things interesting. And Mark E Smith, rather than annoying me, always keeps a smile on my face.

The title track was cool, but the rest failed to interest me much. Maybe I just wasn't in the right head space.

I really want to fix the cover's uneven spacing in the title. I've never really understood the fascination with Lady Day's voice or her approach to singing. Her affectation is so distracting I can't get any sense of what emotion (if any) she's bringing to her songs. And the strings don't help. They swell or recede seemingly at random. She definitely has a vibe, though. I can see why her music has endured on soundtracks and in compilations. It's just not for me.

Don't know why I avoided this for so long. I thought this was fantastic. Reminded me of The Raincoats. (Oh, I just realized why, both bands featured Palmolive, though she split before this album came out.) Angular, disjointed, unconventional. Their grooves are slinky and herky-jerky. But they still groove. (LOL: My wife heard five seconds of this and said, "Well, that's awful.")

I love the Temps—and I especially love their stuff from '67-'72, but they're not an album band. There's always a great jam or three on any given album, but then there are needless covers and one or two frankly embarrassing numbers. I would normally give this a 3 but that cover of The First Time Ever I Saw Your Face was kind of atrocious. So, this is not my fave of their albums. But man, oh man, a collection of their best songs from that period would truly be an album one must hear before one died.

yeah, i kind of hate this. not even sure I can article or rationalize why. I mean, G's just livin' his life, not hurting anyone. But damn do I want to smack him upside the head with a cold beverage. On paper, these guys are covering the same territory as Soul Coughing, but SC is so much better. Seems like an easy swap: ditch this in favor of Ruby Vroom.

Not sure why I never gave these guys much attention. This was a cool listen, and Cisco Kid is such a fantastic groove. I don't know that I loved every song, but these guys are cool and unique and this album made me go and listen to more of their music, which is I guess the point of this exercise.

Perhaps I was too busy to really get this one, but this struck me as inessential.

I enjoyed this more than I thought I would. I dig the paranoid atmosphere, fueled by cocaine and haunted by the apocalyptic specter of AIDS. It's electronic, which isn't normally my jam, but they keep it real with enough acoustic instruments, passionate vocals, and good songwriting. Plus, "Tainted Love" might just be the greatest cover of all time.

They figured it out with their next album, though many of the pieces are in place on this one. Johnny's pretty insufferable here, though.