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.

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.

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

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.