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.

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

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.

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.