Oh FFS... how in the world did this crap make the list? This style/genre/shameful detour of rock music should be forgotten and lost to the sands of time. And this isn't even their "best" album - it's easily the most cheesy representation of this nonsense.

I don't know how to rate this... At first I was put off by another "crooner record" (and the Phil Spector wall of sound) but then halfway through "Jackie" the lyrics caught my ear and I had multiple double-takes. Then "Next" comes in and it is clear that this isn't Tony Bennett: these Jacques Brel songs have something interesting to offer. Overall it's the type of thing I'm hoping to encounter on this list: something I've never heard of, something outside my usual listening, and something that, on reflection, was probably groundbreaking and influential.

To this day I still don't understand the appeal of Eminem. He's like the nu-metal of hip hop - an historical mistake that should never be repeated.

Definitely not their best set of songs, but the standout tracks are classics ("My Generation," "The Kids are Alright," "A Legal Matter"). There were much better albums coming, but in 1965 the powerful sound of drums and guitars was something that had never been captured on a rock record before. One of those groundbreaking records that wasn't the band's best, but demands a level of respect.

Consistent in mood, style, quality, lyrics, polish, and self-confidence. This is the record that defined the CCR "mythos", and maybe that's why this is in the book over Cosmo's Factory, Green River, or Willy and the Poor Boys. Proud Mary is their best ever song though, so hard to imagine it being left out.

Will my kids look back on Pearl Jam, Nirvana, etc. and think of that as "dad music" like I do with this crap? I mean, my dad had good taste! He got me into Zeppelin, Sabbath, Creedence! Why did he think this garbage was worth his time? Guess it's something to talk about at Christmas this year...

I was ready to write this one off as some singles with fillter, but this is a solid album - it sounds more like REM than I would have ever guessed. Well crafted tunes that definitely hold up over time. The album is well-deserved in its accolades as a "cornerstone of American new wave."

Never did like Bruce (still don't), but I'll grade on a curve because he's at least saying something and backing up the working class.

I really like this record. It's a different side of PJ Harvey, at times channeling Patti Smith, at times her take on a pop song, and only one or two cuts that are traditional PJ Harvey rawness. My favorite: "You Said Something"

I know everyone says this is a "funk metal" band, but this album goes between synth-metal, Mother Love Bone glam, and Alice in Chains w/o the harmonies. That's not a bad thing because this record still sounds great and is a great intro to Mike Patton and the directions the band will take on the follow up record.

In my college days this record was like holy artifact. Listening to it again now after so many years, it doesn't give me that same "spiritual experience" but it's still a landmark record that was/is insanely influential on many of my favorite artists.

An album that gets better and better the more you listen - it takes a few passes to truly appreciate the wit and turns of phrase in the lyrics and the richness of the musical compositions. Consistent all the way through and each member has their moments of creativity and expression, all held together with Stuart M's strong songwriting. I didn't think this was my favorite Belle & Sebastian record, but after this listen I think I've changed my mind and awarded it a rightful place at the top of the list.

Nope, can't do it. I friggen hate Billy Joel, always have, always will. I really tried though!

One could consider this as the bands magnum opus, though I still prefer Siamese Dream. This album was huge when it came out, and it honestly holds up nearly 30 years later. The songs aren't necessarily linked by any themes or narrative (other than maybe being a 90s teen) but it works as a cohesive unit nonetheless. Does drag a little in parts, but there are more than its fair share of great tracks.

Whoa, this album is interesting. Exactly the type of thing I want to encounter on this list. Glam meets art-rock with a dash of prog and avant-garde. This isn't novelty though, the songs are well constructed and catchy.

The record that defined Elton as we know him: the larger than life star. An album that showcases every aspect of his personality with a huge blockbuster sound. Three amazing singles, and another single that's unfortunately my least favorite EJ song ever. A variety of styles (both good and not so good) providing at least something that resonates for pretty much everyone.

I avoided this album when it was released because "Criminal" was ubiquitous and unavoidable, and to my small mind, that meant "too commercial to be any good." Kids are dumb, this album is amazing, and I'm worse off for never giving it a chance back then. At least I get to experience it for the first time here and now.

Well crafted record, though not really my jam.

I'm a fan, and this sound still holds up 13 years later. Great debut.

This came out of left field, in a good way. Lemper's stage musical singing chops really shine, and the musical compositions are top notch. I was unaware of Lemper's pedigree as the (THE) modern interpretive authority on Kurt Weill and "Tango Ballad" is perhaps the most interesting interpretation on an album of very interesting interpretations. Not sure I'd listen to this on repeat, but when in the mood this album hits all the right spots.

Like most Americans, I knew nothing of this band outside of "Come On Eileen". A couple of songs have a heavy The Specials influence. I can't get past the vocals. I appreciate hard-to-understand singers, but something about the recording quality of the vocals and his accent makes a lot of it incomprehensible.

Stone cold classic. "There is a Light That Never Goes Out" was the walkout music at my wedding. 'Nuff said.

Kind of reminds me of the Allman Bros' At Filmore East, but (a) it's not actually live (they added crowd noise to the studio recordings), and (b) it's not as good. "Piece of My Heart" is of course the standout, and "Summertime" is a pretty good cover. I guess as a paragon of the late 60s San Francisco scene it deserves some credit, but it's just a lot to get through if you "weren't there, man."

Incredible debut. 3/4 of the tracks on this album are stone cold classics. The only fault is the muddy sound that comes close to doing his revolutionary guitar work a disservice. Not enough of a fault to rate this any lower than 5 stars though. Just an amazing record front to back.

This might be the most consistent LCD Soundsystem album in their catalog. It has an urgency and almost nervousness to the sound throughout - anger, longing, fear, and James Murphy's trademark self-awareness - without sounding the same as previous efforts. Lyrically it's as strong as any of the three earlier albums. It helps that the return was a huge surprise, and instead of delivering just a nostalgic cash grab, they produced a great record.

This album shows Joy Division at their full potential: sprawling, chaotic, energetic, neurotic. The band experiments with sound, mixing, melodies, rhythms, and vocals. If it's not better than Unknown Pleasures - and it probably is - it's a step forward and leaves you longing for what the band might have come up with next had they the chance.

Sonic Youth's magnum opus, still one of the best records ever, though perhaps I have a strong bias in favor of my "musical discovery" years. Don't just listen to me though, listen to all of the bands and artists that cite this work as a major influence. Starts off with two amazing singles (or what passes for a single for Sonic Youth) but my favorite is probably the Trilogy that ends the second side.

Ugh, no... just... no. 2 stars because they at least play their own instruments and like, my dad kinda likes this album.

Great combination of electronic music and R&B. Back in the 90s, this is what I pictured R&B sounding like in "the future." Pretty strong songwriting, even though this genre is not really my jam.

Buzzcocks are unfairly known as a "singles band" but this album is a showcase for the bands talent and influences. It succeeds as an album from production to musicality to songwriting.

I've always thought of The Cardigans as a novelty band (what if we had a lounge lizard act with twee vocals?), and this album didn't do much to dissuade me of that notion. I was giving it a fair shake until I hit the ridiculous "Iron Man" cover and I fell off the ride.

Very much in the vein of Eels, Elliot Smith, and Bright Eyes, and maybe even The Beta Band or Grandaddy. I didn't find it as good as any of those bands tbqh, but it's still listenable and the lyrics are earnest.

Good, but not great record. Some major standouts but the rest feels just kind of under-developed in a way. Quick tangent: there's something about the recording on this that dates it as 1998-2000. Sounds just like the recording and mix of Muse's Showbiz, VAST's debut album, Days of the New, etc. Something about the compression ratio of the vocals, the drum mix, or something.

This album defines "90s electronica" for me and is a stone cold classic as far as I'm concerned.

I don't know if I like this as much as Bookends or Bridge, but it's good. Really good.

A debut album that tells you exactly who this band is, what they are about, and what type of show they're going to put on live. The album is like a cannon ball blast - 35 minutes of getting down to the business of rocking you to 11. Oh, and here's a handful of tracks that will be come classics, and a new guitar sound you've never heard before that's going to change the landscape of rock music for the next decade.

Probably the only VU album showcasing the potential of every member of the band. Impossible to overestimate the influence of this record, and thus, impossible to give less than a 5.

This album is a reaction to the reviews of the earlier Psychocandy. The wall of sound is gone, but the "style" is still there. Songs are a little more drawn out and the band explores the space - it doesn't sound empty at all. I don't like this album quite as much as Psychocandy or Automatic, but there are some killer tracks and it's still a great record.

"Grand Funk Railroad paved the way for Jefferson Airplane, which cleared the way for Jefferson Starship. The stage was now set for the Alan Parsons Project, which I believe was some sort of hovercraft."

Great album and I'm glad the band relented and went ahead with recording "Run, Charlie, Run" and "Papa Was a Rollin' Stone"

Took all of my willpower to give this a shot. I'm not a fan of this type of pop music to say the least, but since Taylor writes her own songs I figure she's at least a step ahead of her competition. The hits you've heard because they've been playing in every grocery store and on every other commercial for the last 8 years. The filler was better than I expected and when she falls back on her strengths (earnest lyrics, straightforward melodies) the songs are good.

Amazing infusion of New Wave sounds with The Attraction's classic touches. Insightful lyrics about world politics, imperialism, life, love. Catchy melodies. What's not to love about this classic?

Was dreading when this one was going to appear. it was actually more tolerable than I was expecting.

Oh hell yeah. The first side is a massive jump forward from the classic Motown sound into a "psychedelic soul", the source material for the funk sound of the 70s. Poignant lyrics, great instrumental compositions, and harmonies and vocals as good as ever. The second side dials it back a little with more subtle touches of the experimental first half, which IMO, weakens the record. Still a great album though.

Album is solid, with a number of standouts. "Stir it Up" is a top 2 Bob Marley & The Wailers song.

Oh FFS... how in the world did this crap make the list? This style/genre/shameful detour of rock music should be forgotten and lost to the sands of time. And this isn't even their "best" album - it's easily the most cheesy representation of this nonsense.

The covers pale in comparison to the originals, but wow, the originals are solid: growth from the previous record and a glimpse at the band's true potential. Hard to give this a 5 star rating as I feel there are too many covers and it's not nearly as good as records to come. But this record is better than many other 5 star records on the 1001 list, so...

One of those albums that you have to hear and appreciate, but you'd have a hard time listening to on repeat. I love it when bands are pushing the envelope and this record certainly does that in spades. Helps that Kurt Cobain and Doug Martsch cite this as one of their biggest influences.

Kind of an Aphex Twin "lite" but enjoyable enough. I have a soft spot for 90s electronic music.

I mean, it's a classic and a pioneering "alternative" record. Rate it up there with the best REM, The Cure, The Smiths.

Pretty good - similar to anime OSTs in that it's as much a score as it is a typical "soundtrack". Quite enjoyable and it pairs well with the film. Stranger Things, Twin Peaks, and any score by Daft Punk or Vangelis are in the same vein.

Some of the tracks sound a bit dated, but others still hold up. The blending of blues and gospel with his own lyrics on top of breakbeat and other electronica made a pretty fresh sound in 1999. It's still a good listen and the singles are still catchy. One of those albums that I would have rated higher back when it came out.

I never boarded the Wilco hype train, but this was better than I expected. Solid set of songs, with some nice standouts.

Funk was never my cup of tea, but later bands obviously cite this as a major influence.

I don't really get this one.

Another one of those albums (and bands) that I rate highly because of the impact it made on me when I first heard it. It still holds up today - hell it sounds like a greatest hits collection. If you listen to this and don't want to dance (or at least bob your head once in a while) you are likely a robot and not a human.

Definitely was not expecting this from The Beach Boys. Completely different sound and songwriting. Some huge misses but also some amazing songs.

Jack Elliot sounds like Woodie Guthrie. Bob Dylan sounds like Jack Elliot. He did the whole "pretend to be a country bumpkin though really from a privileged upbringing" before John Fogerty did it. Can definitely see why this album is in the book even though I'm not a huge folk fan. If you like folk, this is a classic. If you don't, it will be grouped w/ Dylan and you'll rate it the same.

Holy crap. Is this the best live metal album of all time? Full throttle from the start. Amazing versions of "The Hammer," "Ace of Spades," "Overkill," and the finale of "Bite the Bullet / The Chase is Better Than the Catch" is incredible.

I couldn't really get past this sounding like a novelty act, though to completely contradict this statement, I felt the strongest song was the "California Sun" cover LOL.

Both bleak and optimistic at the same time. A sense of loss permeates the entire album contrasted with sparks of encouragement or maybe even hope. Musically, this is Pink Floyd at their sharpest and tightest, with intricate interplay between all instruments, melodies, harmonies, and solos. Just an all around classic that might not be quite as pioneering as Dark Side of the Moon, but IMO it's just as essential.

This is basically as good as Michael Jackson's Thriller. The singles are pop classics.

You can definitely tell that some 70s-80s rock and pop drew influence from this record. Sure, the world music aspects lead up to Paul Simon and Peter Gabriel, but the folk aspects and the way the songs are constructed remind me a lot of Led Zeppelin I. Others sound like repurposed drinking songs ala The Pogues (this is not a bad thing). Some of the vocals and harmonies remind me of Belle and Sebastian. Now that all being said, there are still some tracks I had a hard time getting through. "The Minotaur's Song" sounds like they got high and had a laugh or two - I have no idea why it's held up by critics as a highlight of the album.

Started off OK, then I didn't get it, then it got better and I kinda got it.

Some decent tracks. I've never been a big fan of UK garage/UK-style house, and even if this is a landmark record of the genre, it still doesn't really resonate with me.

Great record. Rhymes, beats, themes, samples - all done exceedingly well.

Essential psychedelic album and an interesting mix of Syd Barrett's pop song structures and the more traditional Pink Floyd improvisational pieces.

The "musicality" (?) of this record, and all Eels records, really, are amazing. Harmonious, haunting, emotional. It's like the Eels signature sound. I loved this record when it came out, and listening to it again that hasn't changed.

This is probably my favorite Bowie record. Just an amazing collection of songs: inventive, clever, interesting, and catchy at the same time.

Not really sure he achieved the "lyrical depth" he was hoping for with this batch of songs. The music isn't helping any: while moody, it's very vanilla and lacks any sort of impact or edge, though perhaps my impression is biased by time. Doesn't suck, but is just not all that interesting.

An all-time classic.

Nope

A great showcase for her vocal range and energy and you can see why she has been so highly regarded as a singer. A couple of standout tracks, and even the filler is pretty good.

This album lives up to all of the praise and "importance" that history has placed upon it. It represents one of those moments in music history that changes the rules of what can, and should, be done. A true masterpiece.

This is soooo much better than their later albums. Lydon is still mad and has something to say. The band has purpose and wants to move music in a new direction. That said, it's not perfect, but it's trying.

Great set of pop tunes. Songwriting, melodies, and harmonies are all spot on. Reminds me a little bit of Rubber Soul era Beatles, a little bit of early Matthew Sweet, and maybe Robyn Hitchcock, though it lacks the edge of the latter two artists.

I don't know how to rate this... At first I was put off by another "crooner record" (and the Phil Spector wall of sound) but then halfway through "Jackie" the lyrics caught my ear and I had multiple double-takes. Then "Next" comes in and it is clear that this isn't Tony Bennett: these Jacques Brel songs have something interesting to offer. Overall it's the type of thing I'm hoping to encounter on this list: something I've never heard of, something outside my usual listening, and something that, on reflection, was probably groundbreaking and influential.

Kind of a hybrid/fusion of his folk style with The Beatles/Rolling Stones. Contains some classics. Overall excellent listen, though I still prefer the more overtly political songs of his earlier career.

Disjointed and jaded, though that's probably the whole point. Some well worked songs, some experimentation, some earnest lyrics that translate to being tired of being on the road. A couple of classic songs. Overall not the best Bowie but still pretty good.

"Little Wing," "Wait Until Tomorrow," "If 6 was 9," and "Castles Made of Sand" automatically make this a 3 or 4 stars out of 5. The songs are a little more tightly crafted than those on his first album, though it's probably not as revolutionary. I get some R&B influence, some jazz, and some experimentation. He's got a vision for where he wants his music to go and he's working through it on this record.

Arena rock global breakthrough for a band that was lumped into Britpop but was always more of a classic rock and roll band. These songs aren't artful, nor do they have much substance, but they tickle that part of the brain that wants to rock out. Classic 90s record. My only real complaint is in the mixing/mastery of the record as it is heavily compressed. Not sure if it's responsible for the "loudness war" or if it was a casualty, but it annoys me.

The Bob songs sound so different than the Grant songs it's almost like they each are writing their own solo efforts and just pushed the two sets of songs onto the same album. This isn't a bad thing though because each songwriter is going in their own new direction.

I can't believe I missed this record when it came out. Added bonus, has Steve Albini's recording "style" all over it.

Doesn't hold up to the test of time, mostly due to the casual misogyny that the band would later apologize for. Probably the most consistent Beasies record though - all tracks are listenable and close to "singles" vs. some of the later output that had a lot (a LOT) of filler. So I have to rate this in balance...

Oof, the high levels of compression on this recording isn't the worst I've ever heard, but it's not great. Decent set of songs though - consistent themes and interesting lyrics permeate the record, decorated with catchy hooks. Couldn't escape either "Malibu" or the title track on the radio in the late 90s. Still, not up to the level of their early 90s stuff.

Disclaimer, I can't stand the Rolling Stones, other than a small handful of exceptions, and this album contains a couple of them. I honestly don't know what it is about the Stones, specifically, that bugs me, but I didn't get much of that on this record - it wasn't a bad listen, which surprised me.

This is what grunge actually sounds like, though the production value on this one is pretty high. Decent set of songs, with a couple of standouts. Like a lot of punk records, this could start to get a little monotonous if it were any longer.

I love the sound on The Cure's goth records. Exploration of space, mood, and ambience. Easy to listen to this on repeat a bunch of times.

Probably the Beastie's magnum opus, though the second side loses the plot with a lot of filler and what seem like unfinished cuts. The strength of the singles alone are enough to call this a classic though.

Probably in the band's top 3 albums. One of those "turning point" records that changed the band's direction, so I see why this one was included in the book. Not as good as Violator, but maybe as good as Speak & Spell?

I somehow missed out on this band entirely and I'm worse off for it. Wow, what a great record. You can hear everything from The White Stripes to Pixies in this, but none of the bands drawing influence are able to completely capture the mix of punk, blues, and garage quite like this.

I wore out this cassette in middle school. I can't believe a lot of it still holds up (though I have a soft spot for politically charged rap/hip-hop from the late 80s and early 90s). My only complaint is that the recording is compressed within an inch of its life and could sorely use a remaster.

Maybe the closest to sounding like The Smiths of any of his solo records. He seems in his element on this record, like he's gained enough confidence as a solo artist to craft a solid set of songs. Some great selections on this one and he hasn't lost is wit and wordplay.

Highlights: his vocal performance might be the best form of his career. He was able to sneak a couple of anti-establishment songs onto the record. Other than that, it's pretty standard Elvis fare. if you like Elvis you'll love this record. If you aren't an Elvis fan you won't find this any different than his other stuff.

Typical 70's "Foghat Rule" album - double, live. The sound on this is really weird - apparently they overdubbed most of it in the studio and just left in the drums and audience noise from the live shows? You can tell the sound is really off. If you like Thin Lizzy I'm sure this is a fantastic record. Unfortunately, I don't like Thin Lizzy...

Like XO, this album has a "Beatlesesque" production quality. Fantastic collection of pop songs, though it could benefit from a little more editing (it seems to drag towards the end - maybe it's too long). Would have loved to see where Smith was going on future albums, but it wasn't to be. Overall a great capo to a career cut far too short.

Some really great songs in between some obvious filler. Something about the blending of rock and Irish traditional music that is just pleasant on the ear. The lyrics are biting and sorrowful, adding contrast to the bouncing and infectious instrumentation.

The music is a great mix of new wave and punk aesthetics. Unfortunately, I wasn't able to get past the misogynistic lyrics on a number of the tracks.

Another great example of an album I would have never listened to were it not for this list. Pretty interesting set of cuts, even though I can't understand most of the lyrics.

I love this band. There are better records to come, but this one has some classic songs and is a showcase for the band's potential.

"The Girl is Mine" sucks, and Michael Jackson as a human being was despicable, but this album is so historic you have to rate it a 5/5.

This record must be the primary influence of bands like Wilco. Kind of an alt-country vibe, though to me there is much more to it: English punk, new wave, some reggae, some rockabilly, even some folk. Has there every been a country song with polyrhythms? Very interesting record that tackles heavy themes of life in a village during wartime. Another great representation of the type of album I'm hoping to encounter on this list.

A landmark album for the band and for the prog rock genre as a whole. I remember "discovering" this record when I was in high school through friends (my dad was never a Rush fan) and it blew me away.

If you like reggae you are kind of required to love this album (even if Bob Marley isn't your favorite). Kind of the quintessential Bob Marley & the Wailers record. Politically charged, yet laid back at the same time. Has at least 3 of his most recognizable songs. Consistently good throughout.

Oh FFS. This shit should have been incinerated with all of the other hazardous nu-metal waste and relegated to - at best - a minor, MINOR footnote in music history. Just utter garbage that wasn't worth anyone's time when it was released, let alone now. If only we could rate 0 stars...

I've never understood the hype for Leonard Cohen, so this one surprised me a little in its consistency. The closest approximation I can think of is that it sounds like Simon & Garfunkel, though the lyrics are more rooted in "the real world" rather than literature and art. Sometimes if you close your eyes his voice has a Lou Reed quality to it, though maybe that's some of the lyrical content. A couple of interesting tracks ("Sisters of Mercy", "Stories of the Street") but the rest isn't really my cup of tea. I have to grade on a curve though as I have with other "influential" records on this list that I don't find all that appealing myself.

It's like a Jim Jarmusch film - a complete story rooted in the events of a normal everyday life (if your life involves going on holiday in Spain, losing money, and trying to gamble on football in an attempt to get that money back). This concept album somehow effectively blends dark comedy with real emotional resonance of love, loss, heartbreak, and tragedy without it being a complete parody of itself. Amazing record. I was a fan of Original Pirate Material and for whatever stupid reason never really gave this a proper listen. Glad this came up on the list because I'll be returning to this frequently.

Positives: surprising depth to the lyrics and themes; she has a unique and interesting voice and vocal styling Negatives: the synth arrangements date this horribly - you can tell it's a 2010s record (oh, the dude from Fun. wrote most of the music, that explains it...); it doesn't distinguish itself enough from other pop acts on the radio - the only way I know this isn't, say, Grimes or Lady Gaga is that her vocals are pretty unique.

A classic album that brought garage rock back to the mainstream. Every song is good, and many are paragons of the genre.

A stone cold classic, maybe even the greatest jazz album ever recorded. I struggle to put into words how to describe it - just listen to it. Then listen to it again and again.

The album explores how war shaped England, but it could easily be transplanted forward 10 years as an observation of the hyper-nationalism around Brexit as these themes are very similar. The punch of the lyrical content is almost masked by the softness of the sound, but to me it becomes something haunted. A wonderful record.

My favorite Hole album - powerful riffs with great hooks, personal lyrics covering a variety of topics from post-partum depression to being a woman in a male dominated society, and catchy melodies. Definitely follows the early 90s "grunge" pattern but it works amazingly well with Love's vocal ranges. The raw power of her singing in "Violet" gets me every time.

Beautiful instrumentation and arrangements. The lyrics are either thematic or deeply personal. Everything seems to click into place and fits his vocal range nicely. It does drag a bit, especially the second half, but it's a very interesting record.

I know I'm supposed to like Prince but I've never really understood the appeal. I guess you had to be there. The singles are ubiquitous by now if you've ever been in a public place or like, watched a film that was made in the last 40 years.

One of those landmark albums that needs to be graded on a curve based on how new it was at the time (the first time a lot of people were exposed to the James Brown live experience) as well as how influential it has become. The show has high energy from start to finish and the group is tight all the way through.

Oof. Corny, boring, and the synth really captures that crappy 80s Jefferson Starship sound.