Ok. Depeche Mode this is not. OMD this is not. Tears for Fears this is not. There are probably countless examples of bands of this era that are more notable for their use of sequencers and electronics. Here's why I think this album is notable, or even stretching to important, to merit this being on the list. 2 reasons really, and it's a double edged sword for both. 1. Extensive use of sampling, and to a lesser degree MIDI, both of which were in its advent years in 83-85. Sampling at this time was still 8-bit and not very complex or deep, so it would have been amazing to repeat a sample on demand, but much better sampling technology was still to come. 2. This is all before fully digital recording was mainstream, so despite not sounding "sterile", it also was the harbinger of an "overprocessed" sound that was so prevalent in the late 80's (nu shooz, Lisa Lisa and Cult Jam, Stacey Q, etc.) Two examples of albums that transcend this are probably Depeche's Music For the Masses and Pet Shop Boys' Please, which would be released in the next 2 years. Musically, Lyrically, it's good, solid stuff. It's quirky, and a little funky in a brit, bubblegum pop kind of way. It's just buried in technology. I did buy the album at the time, but just didn't appeal to me in the long run and got rid of it. Most of the tunes are good with catchy hooks (Wood Beez remains my favorite along with the single mix of Perfect Way, but Absolute gets some new appreciation this time around), but some are not (Hypnotize and Small Talk, I'm looking at you).

Evocative lyrics. Sublime metaphors. His folk blends a cowboy storyteller style with a little Greenwich Village sensibility. The whole album is solid, but The Master Song, The Stranger Song, So Long Marianne are my favorites.

African beats/syncopations, loop patterns. All analog baby!

This album was (as a teenager in 1985) a key part of my life in my transition moving from Arizona to Texas. The video for Everybody Wants to rule the World has me pining for the (prior to my move) family journeys from Phoenix to LA. The rest of the songs remind me of San Antonio and spending my freshman year at a boarding school. For this kid of the 80s there's not a bad song. From the hits, to "I Believe", "Listen", and even "Broken", for me it's practically beyond reproach. If I had to pick a weak song I'd pick "Mother's Talk" -- to me the US single was vastly inferior to the album version. It's also the one I'm more likely to skip. Moving to Texas my life made a huge change, and this one is definitely one of my Desert Island Discs.

Clothes reeking of spilled bourbon and cigarette smoke. 3am insomnia music. Brilliant. I have to be in the mood for it tho. Took 3 tries of listening to the album in fits and starts, but when I got to "Time" I started over.

I can't say I've had a proper introduction to fusion, and the kind of sounds to emerge from the scene in the decade after this album is something I'm still not a great fan of. But this is fusion I can get behind (fusion lite?) It showcases a wide range of styles. Traditional bebop, elements of big band swing, with some great funk spice added on with electric piano (Part of a Whole, Inner Crisis), contrasted with a little detuned piano for a more New Orleans sound (Maseru), a little Guaraldi-style piano (Minawa), Sketches of Spain-era Miles Davis (Unhome), hard bop (The Big Apple, Nomali), touching into free jazz (Blues for Huey), more spacious, atmospheric sounds (Maesha-best track on the album for me), and ending with a more traditional Afrobeat (Ingoo Pow-Pow). Not a weak song in the mix. Wonderful album.

First album with the Attractions... Check. Fave songs like "Pump it up", "(I don't want to go to) Chelsea", "This year's girl", and the song that would live in SNL infamy for over 20 years "Radio, Radio".... check. Fantastic album!

This feels like the missing link between the psychedelic rock of the Doors and the garage rock/punk of the Ramones. Primal, raw, flipping a middle finger to melody. I can appreciate this album's influence on indie rock in the coming years, but this just ain't my bag as a person who is a sucker for a good pop melody and more sophisticated chord progressions. "We Shall Fall" has a "Riders on the Storm" feel but seems a few minutes longer than necessary. "Little Doll" is the best sounding song on the album, sticking to a catchy bass line and narrow structure.

Bluesy, reverb-drenched primal rage. Anchored by solid bass lines and a relentless beat, it reminds me of Ministry and Jesus Lizard. "Several Sins" and "Release the Bats" are the ones I liked the best, but "Big Jesus Trash Can" gets an honorable mention. I can see where this has an influence on Industrial and Grunge.

A sublime synthesis of pop influences - Clash and Smiths stand out, but there are some grungy and even a little rockabilly, surf/spaghetti western elements. Catchy tunes, a very uncluttered mix, and solid work by drummer Gary Powell and bassist John Hassall keeping the sound tight and focused. So many good tunes, but "Narcissist", "Arbeit Macht Frei", and "What Katie Did" stand out, along with "Can't Stand Me Now" and "What Became of the Likely Lads".

This was such a contrast to the cuban-infused dance pop I first heard with Miami Sound Machine. Such a wonderful laid back easy listen.

Folk rock feel with a clear Celtic imprint. Si Tu Dos Partir and Who Knows Where the Time Goes stand out, and Cajun Woman has a Creedence Clearwater Revival feel to it. Million Dollar Bash seemed most generically radio friendly, but Percy's Song was my favorite.

Tim's vocals are very emotive, reminds me of Van Morrison. Middle 3 songs and the last song feel the tightest, everything else seems less remarkable.

Punk energy and frenzy combined with metal. 36 minutes of glorious melodic noise.

A hard rock classic. Catchy riffs, anthemic choruses, tight sound. Highway to Hell, Touch Too Much, Beating Around the Bush are standouts, but Love Hungry Love Man gets a mention for having a disco-ish rhythm. Overall a great album!

Seminal album of West Coast Rap. Let Me Ride and Nuthin' But a G Thang are classics, but the album on the whole is solid. Other notables are Stranded on Death Row, High Powered, and The Roach. The Day the Niggaz Took Over struck me, not having heard it before but thinking of the context of the LA Riots that happened that year.

In this follow up to 1991's Out of Time, I gave this a full relisten as I heard it but didn't gravitate towards in the same way as the prior album (arguably my favorite in their collection). Whereas Out of Time had a more "upbeat" quality to it (all things relative), AFTP sounds much darker and introspective. It is also their most polished and lush production (thanks to the fantastic string arrangements by John Paul Jones). With out of time practically in my DNA I can overlook some of the weaker points, but I found AFTP a more uneven album. Ignoreland I think was a wasted opportunity where it's a good rocking song but it just seemed to Michael's singing gets lost in a live-stadium-like mix. Try Not to Breathe and Nightswimming are among my faves that are not hits, but Drive, Everybody Hurts, and Man on the Moon alone are enough to give this album 4 stars.

U2's international breakthrough album , and for me, unassailable. A little story. I was 15, a new school year was starting, and my mom had passed away a few months earlier that year. We got a CD player for the house, a chunky thing for our stereo that even had an indexing function. My siblings bought a few albums for it, and this was my first choice. Those iconic opening notes of "Where the Streets Have No Name" was very much the beginning of a new day, in more ways than one. To me there was so much more than the hit at the time, "With or Without You". "Bullet the Blue Sky, "Red Hill Mining Town", Running to Stand Still". I don't think there's a weak song on the album. It's a coherent whole for me. Brilliant album.

Decent album, I may warm up to it on further listenings but not many songs beyond the singles (Pop Song 89, Stand, and Orange Crush) stand out for me.

Note - Spotify link goes to a list not consistent with track listing on Wikipedia. Closest thing I could find from Google was a Soundcloud of the tracks "remixed" by DJ Jo Public. Given this format, It's a pretty seamless mix. If you have a short attention span, this may all sound a bit repetitive, but listening to it as a whole was like tripping through space, lots of different ambience and texture. This might make good driving music or something in the background while working. Overall an enjoyable listen.

A departure from his earlier 2 albums, having a more organic, conventional sound with played instruments and less sonic experimentation (although not fully gone). The Golden Age gets a mention, but it doesn't really stand out as a whole. May grow to like with further listening.

My first introduction to an Algerian artist, this sounds like a great sample of pop influences into this music. The Imagine cover borders on cringe and delight. Quine El Harba sounds so happy. Ya Aachkou is a good one. E'dir E'sseba has a solid, disco influenced beat. Great album.

Wonderful album with three fantastic voices. Great songs but nothing Earth shattering or breaking new ground.

The opening track This is a Call has the clear line of Grohl emerging from the ashes of Nirvana and the beginning of his evolving (though thoroughly grounded in Grunge with a little more of a pop angle) sound. Having not listened to the album when it came out, It's got a Gravity and weight to it that doesn't compare (mostly) to other Grunge contemporaries. Good Grief and Weenie Beenie are standouts. Very good album.

Very distinctive voice. If ever there were a voice that could do "Hallelujah" well this one is it. Lilac Wine and Eternal life are standouts, Corpus Christi Carol sounds angelic - another good showcase of his voice. Album felt very uneven. For me the production kind of sounds dated, but is a very solid mix.

i do like a good hook and a pop sensibility, but I like more earthy or stripped down sounds. For a Taylor Swift Album this consistently hits my preferences. Well produced, catchy melodies, but it's uniqueness seems to come from a relatively simple, uncomplicated approach compared to the more blatantly sugarpop type sound I am familiar with Taylor. It's still got that signature and doesn't break ground, but it's in a sound that is more appealing to me. willow, 'tis the damn season, coney island are good songs. Enough decent stuff that I would come back to listen to this album more.

A brutally honest songwriter that keenly chronicles the difficulty of the human condition - all it's ugliness, and also all it's hope. 35 years on so much of the world has changed and yet, funny how how things stay the same (and some could argue it's worse). Her lyrics, clear and unflinching, are as relevant today as they ever were. Talkin' Bout a Revolution and Fast Car are potent starters, but Behind the Wall is quite a stand-out, as well as Mountains of Things, Why? and For My Lover. Such a powerful album.

The album that set the stage for the Summer of Love. This is a first time listen and is has so many great tunes beyond Somebody to Love and White Rabbit (though the latter is definitely the best of the album). Fantastic album.

Great hooks and polished melodies topped with surrealistic interludes within songs. This is a really interesting mix. All the songs are pretty strong on the album but Camping on the Water and Bewilderbeast are standouts. It doesn't seem too surprising that I think the strongest songs on the album were singles. Great album.

If Tom Waits or Leonard Cohen were French and came on the scene 15 or so years before they did, I imagine this is what they would be cranking out. Passionate, soulful singing and a simple, traditional sound. Good album, definitely would not have thought to seek this one out.

As a cohesive whole, this is hands down the best of his early output. With the epic Funeral for a Friend/Love Lies Bleeding to start you off, then 3 of his best known hits, and a wide variety of songs that are great, it's such a solid album. Of the non singles so many stand out it's hard to choose, but I'd say I've Seen That Movie Too and Social Disease get honorable mentions.

What a set of pipes. Such raw emotion and vulnerability. Half Moon is a rocking standout, along with My Baby. Brilliant singer.

Being more familiar with their folk rock oriented music, this seemed like a change in direction. Direction. Still great harmonies, still good melodies but elements of psychedelic rock are creeping in with sitar like sounds and even a little bit of sort of a country oriented rock as well. CTA -102 sounded pretty conventional until the explosion sound and took a very psychedelic turn. Thoughts and Words and the alternate version of My Back Pages are my favorites.

This is some dark shit. Seems the perfect music to be hearing just past Halloween. They're all really good, but the songs with guest vocalists PJ Harvey, Kylie Minogue and Shane Macgowan I like a lot. Death is Not the End and Where the Wild Roses Grow are my favorites.

Smart lyrics, great tunes, Wonderful album, It seems almost timeless and the slower songs feel so intimate. Join the Boys has the best groove, Like Fire has a great hook. Love and Affection is lush.

This is essential Little Richard, one of the pioneers of early rock. All of his classics in one place. Half an hour of great blues piano in all of its mono glory. I'm impressed that the remaster sounds so crisp and can hear the drums so prominently but it's an even mix. Lawd help the microphone that recorded his voice! A frenzy of energy and I can imagine the pearl-clutching this music must have stirred up in the day.

Metal in general is not something I had a shine towards, but in my older age I'm looking back at things I didn't pay much attention to and having an open mind for it. This album pulls in from different places I'm familiar with - Helmet a little Nine Inch Nails, Faith No More in particular, but just didn't explore much. The chugging guitars, the guttural screaming, it's all glorious, even if I have to pause to let my ears stop ringing. Wait and Bleed has a melodic hook that sticks with you, has a rapid fire rap and a hook in the chorus. The hidden track Eeyore is a speed thrash gem. I'd have to agree with this album being a "terrifying racket", but I consider that high praise.

Paul Weller's project before Style Council... A solid album that checks all my boxes -- post-pu k/new wave, an accessible pop energy, good melodies and songwriting. Down the Tube Station At Midnight and In the Crowd are my favorites. This one's going in my regular rotation.

I'm familiar with their hit "The Boys are Back in Town", but this is my first listen of a Thin Lizzy Album. A decent concert overall, but there are times the vocals are almost floating in front of the rest of the mix - it seems more noticeable in some songs than others. The fade in and out of some songs seems weird, but after reading notes the songs came from different concerts (as well as the discussion of overdubs) it makes sense. Notable songs in this one for me are Rosalie, Still in Love with you, and a young Huey Lewis (!) on Baby Drives Me Crazy, and The Boys are Back in Town. Sha-la-la had a fun drum solo that had a part that reminded me of Van Halen's Hot for Teacher.

The album concept of radio stingers between songs comes off quirky for me as I've been pretty disconnected with commercial radio for some years now. It seemed kind of cheeky at the start but for me the album's disjointedness seemed to be an attempt to bind the songs together. Overall the songs are interesting, but except for I Can See For Miles, they are not as memorable as their later, harder-edged work. Odorono and I Can See For Miles are the songs that stand out for me.

This album has a kind of garage rock/punk meets beat poet sensibility, with a little avant garde for a flourish. Great lyrics, for me her voice takes a little getting used to. I'll have to say her longer pieces Birdland and Land: Horses/Land of a Thousand Dances are ones that don't resonate with me on first listen. The rest of the album is all good though. Kimberly and Break It up are my favorites.

Such a strongly blues album. Hyacinth House is the complete standout for me, next to the epic classics Riders on the Storm, Love Her Madly and LA Woman. It blows my mind that LA Woman is not higher on the Spotify top 10 singles for the Doors, but then I'm reminded that 9 other songs are Just. That. Good.

A mix of hard edged rock and funk that predated the nu metal that came in the next decade it starts with the more distinctly metal classic Cult of Personality and maintains that edge throughout while exploring other soundscapes. Corey Glover's seering vocals with the controlled chaos of Vernon Reid's guitar work with a tight rhythm section makes this a powerhouse of an album. On this expanded edition I really like Funny Vibe--Funky Vibe Mix, but I also like Desperate People and Open Letter (To a Landlord).

First listen to a full Kanye album. Sharp, blunt Lyrics, immaculate productions that some incorporates something organic to all the synthesized and sampled sounds. Such stick in your head hooks. Crazy. So many good tunes on this but POWER, Monster, and Runaway are the standouts.

Evocative lyrics. Sublime metaphors. His folk blends a cowboy storyteller style with a little Greenwich Village sensibility. The whole album is solid, but The Master Song, The Stranger Song, So Long Marianne are my favorites.

Simple, straightforward, nothing fancy, and yet still brilliant. Just a timeless sound for me. Not as much of a favorite as Harvest but it's a good one. Don't Let It Bring You Down is my favorite, but Only Love Can Break Your Heart is next.

A glorious mess of an album. Blues album taken to the experimental avant-garde extreme. So many gems... Some of them are even melodic! Among my faves: Dachau blues Hair Pie - Bake One Moonlight on Vermont Pachuco Cadaver China Pig My Human Gets Me Blues Pena When Big Joan Sets Up Wild Life This one's a keeper...

It's been about 46 years since I've listened to this album, courtesy of my older brother who blasted this album on an 8-track stereo. Detroit, Rock City, and Beth (such a contrast from the other songs), merit this 4 stars. King of the Night Time World, Shout It Out Loud, and Do You Love Me are others I liked. Flaming Youth was a "new" discovery listening to it with the adult perspective. Lyrics are not the deepest, and a couple of filler songs in there, but most are pretty rockin' numbers.

This is classic 70's soul-funk pop. Great start with Shining Star and That's the Way of the World, and it's overall a pretty solid album. Reasons is a great slow dance, and Yearnin' Learnin' and the instrumental Africano have great grooves.

Great delivery like Eminem, incredible grooves and catchy hooks and melodies to go with her MC. It's a short album, but truly not a weak one in the group.

First album of the Roots I've listened to. Diverse musical palettes to create the background for the background. I seem to like the collabs with Nelly Furtado (Sacrifice), Cody Chestnutt (The Seed 2.0) and Jill Scott (Complexity) more than their own tunes. Something in the Water is interesting as it's more a spoken piece. Water's coda doesn't seem to enhance the song for me. May have to listen to this more to appreciate it better but it feels uneven.

Impeccable production, album starts with very drag and drop sample repetition for the first few songs, Maybe this was groundbreaking at the time but it seems unremarkable now. Attitude had kind of a trance-y feel but the vocal hook got pretty annoying. Album seemed to pick up at track 6 - Crazy Love - which is a standout to the others. I See is worth a mention. Sincere - Re-Cue'D has a decent groove but the vocal hook again got annoying. Disc 2 appears to be a number of remixes and I don't think they add anything of intrinsic value to the album. Probably a good album to put in the background while doing other stuff.

My favorite power trio. My favorite Police album (ok, maybe equally with Synchronicity). With that out of the way, it was refreshing as I hadn't listened to the full album in at least 10 years, probably before Spotify. I was reminded why this was in such regular listening rotation when I fully appreciated it in my college years, a good 12 years after it came out. I barely was able to appreciate the hits when it first came out. They had the essence of the time's punk energy while instilling a great mix of reggae syncopation and melodic complexity, but also having a super tight sound. Sting's lyrics, Stewart's brilliant drumming, and Andy's (truly underappreciated) stellar playing - watch anything he's done live--they just had a magic mix. Message in a Bottle is such an all around good, rocking song with smart lyrics. Walking On the Moon is a great exploration of minimalism and space (I did tire of it easily in the early days of listening to it and tended to skip over it frequently, but it was wonderful hearing it in the full album context again). To me, It's Alright for You and Deathwish are just evergreen rocking tunes. Bring on the Night and Bed's Too Big Without You are probably my true favorite songs on the album. Regatta De Blanc is just a fun rocker that you sing along with the scatting. And then there are the more quirky more "filler" songs: Does everyone Stare, Any Other Day, Contact. I still love them. Fight me. Rounding out the album is the frenzy called No Time This Time, one of my most favorite lyrics: If I could I'd stop the whole world down I'd bring it to it's knees I'd stop it spinning it round But as it is I'm climbing an endless wall Just brilliant.

A timeless album that explores different time signatures in each song. Blue Rondo a la Turk is almost orchestral in its scope and a grabs your attention, setting the stage for the album. Strange Meadow Lark starts with a piano playing in a free time for the first part of the song, then plays through the rest of the song in a standard swing rhythm. Take Five is the evergreen standard with a wonderful playfulness to it with it's 5/4 time signature. Three to Get Ready and Kathy's Waltz are wonderful songs are variations between a standard 4/4 swing rhythm to a swing waltz to a traditional 3/4 time waltz rhythm. Everybody's Jumpin' is a fun romp jumping between time signatures. Pick Up Sticks is cool laid back way to end the album, with the bass anchoring everything in a 6/4 time. It's a fun album to pay attention to, but also can just be a mellow thing in the background.

A great live album from one of the pioneers of Rock 'N Roll. A sample of 50s classics, and great chronicle of hard hittin' rock that was that generation's reason for pearl-clutching. The poor piano! The poor guitar solo drowned out in the mix! The very clear drumming! Money was the best track. Long Tall Sally and Great Balls of Fire were great rockers.

Great sound, easy to listen to. Evocative songwriting. That bluesy, soulful voice. Seems like a nice album to listen to on a rainy day and sipping tea. Crazy Love and Into the Mystic are my favorites on this album.

A seminal electronica (although with a few traditional instruments and not fully electronic) album. Autobahn (the track) really does work well as driving music, especially if you're on a long commute :) Kometenmelodie 2 has a more traditional melody and beat. Seeds of ambient music are in here.

This is such a clearly psychedelic blues album, but it's notable in how you can tell that metal would break off from here, and even how garage punk is in there, and how it presages the alternative scene in the late 80s through the 90s. Heavy fuzz-drenched guitar and bass matching riffs, with hard driving beats, and a lead singer that's practically screaming through the songs. The opening track is a psychedelic-soaked version of Summertime Blues. Rock Me Baby is a bluesy rocker. Doctor Please is an extended jam to see what you can do with fuzz and sustain. Out of Focus is the most interesting one of the lot. Parchment Farm starts with a more heavy, driving beat, has a breakup after a solo, and transforms into a slower jam with a hooky bass line in the middle, then returns to the heavier beat for the end. Probably the most head-bangable one of the album. Second Time Around wraps up the album with an epic double guitar noisefest solo and a drum solo. I can imagine many stereos being unplugged by angry parents on this one. Not really an album I'd reach for, but it's a good listen.

When the world caught on to post-Grunge hard rock. Peak 90s nu metal from Korn. Great sound, catchiest songs for me are Freak on a Leash, Dead Bodies Everywhere, Children of the Korn, and Reclaim My Place.

The first album of Peter Gabriel that I truly appreciated. It's been a while since I've listened to the whole album and it hit me way differently - In Your Eyes, Sledgehammer, and Big Time are the top songs and I love them, but I am reminded of how powerful his lyrics are, particularly with That Voice Again and Don't Give Up - So heart wrenching for me. Mercy Street is so brooding. Wonderful album to hear again.

This feels like the link between the crooners and bandleader music popular before rock, to rock. New Orleans jazz blues with a very upbeat, playful feel, and a swing rhythm to get any dance hall jumping. A lot of the upbeat numbers have a very rockabilly feel with the blues progression, without the guitars. Just a Gigolo/I Ain't Got Nobody is the defining classic for generations, but the whole album is great. Jump, Jive, and Wail reminds me of Shake, Rattle and Roll. My favorite was Basin Street Blues/When it's Sleepy Time Down South.

The album that introduced ZZ Top to many in my generation via MTV. That Ford Deuce, those beards, the ladies. This album introduced an evolving sound of their blues hard rock moving more into incorporating synthesizers and drum machines. Lots of good grooves and hooks. Sharp Dressed Man, Gimme All Your Loving, and Legs may have been the biggest hits, but I liked the groove in TV Dinners the best. Great to listen to this one all the way through.

One of the earliest musicians of my early childhood that set me on the path to being drawn to music. All the songs are just embedded in me, and bring up good memories. I have a love-hate relationship with Just the Way You Are, as it's a lovely tune, but the easy listening schmaltz of it all is not something I can listen to in isolation. Within the context of the album flow, it's fine, but not outside of that. Only the Good Die Young is such a happy song - but the lyrics are all about temptation - As a much older adult now I have a different view of the song. Movin' Out and The Stranger are still very precious to me. I'd come around to Scenes From An Italian Restaurant and Vienna later in life. She's Always a Woman remains my favorite song on the album. Such a solid album when listened in it's entirety.

What can I say that hasn't already been said? I'm sure any of these things were bound to have been mentioned. It's probably the best first side of ANY album. Knowing the history of the Beatles and how they evolved from their first single "Love Me Do" to.... this. In a way they reflected the turmoil and change of the 60s as their music became more polished. George, originally solidly in the Second Banana role with the guitar at the start, became their most matured songwriter by this album, and contributed 2 absolute gems with Something and Here Comes the Sun. Seeing the clips from the "Get Back" Documentary of Ringo and George "working on a new idea", gives Octopus's Garden a new dimension for a song I've always liked. And then there are Lennon and McCartney's contributions. Come Together and Oh! Darling are just absolute bangers. I Want You (She's So Heavy) is such an epic hook and jam. Maxwell's Silver Hammer and You Never Give Me Your Money are good, though not as strong as Oh! Darling. Then there's the Medley - a weaving journey of the final contributions of Lennon and McCartney. All of them singing on Carry That Weight, and Ringo's great drum solo in The End. Favorites by contributor: Lennon: Come Together McCartney: Oh! Darling George: Ok - both Something and Here Comes the Sun (how can you not?) Ringo: Octopus's Garden (obvs)

A great album in their major label debut Popular music was shifting away from grunge, the massive popularity of No Doubt is still a few years away. This one ushered in the pop punk era in the 90s. Lots of great tunes on this album, from their hits like Welcome to Paradise, Basket Case, Longview, and my favorite, When I Come Around (my favorite), to others songs like Chump, She, and F.O.D. it's a great album.

Great debut album by Jeff Beck, also introducing us to Rod Stewart and Ronnie Wood. Showing his already great chops in all these songs! So many great tunes on this album, but I liked Let Me Love You, You Shook Me, Rock My Plimsoul, and Blues Deluxe.

Listening to this album really has me realize that that kid in junior high that first heard of Iron Maiden from t-shirts worn by fellow students (and other metal artists in general) and not giving the music a chance because of the imagery spooked me, really missed hearing some good music. Great guitar work and a solid rhythm section for the whole album. Prowler kicks off the album with a great guitar riff and beat, and sets the stage for the album. Remember Tomorrow is a classic metal ballad with a minor key progression. Running Free and Transylvania are my favorites. What a great album!

I was in junior high when this album first came out. My brother had a copy of the album but didn't listen to it all the way through until today. Some of the tracks ring a bell but were unremarkable. I was far more interested other New Romantic bands like Spandau Ballet and Duran Duran. The 4 hits off the album are definitely the best songs on the album, but only Victims is a standout among the others. Overall the original album feels uneven, but the 2003 bonus tracks all are better than the "filler" that makes up the rest of the original album. Those bonus tracks earn it 4 stars.

Gorgeous melodies. Very quirky lyrics. Overly long song names that pass the border into pretentious. This was a challenge for me to listen to. It felt too busy to just background, but I also couldn't make the time to sit down and give the album my full attention. Abbreviating the titles, "Columbia/Carl Sandburg" and "Night Zombies!" are my favorites. It seems like some good stuff but I need more time with it.

At times gloriously noisy and at other times quiet and intimate, this is Gershwin levels of fantastic as the album takes you through so many sonic textures -- big band improvisation, classical-ish guitar (!) and wailing saxophones and wah-ing trombones.

Generally speaking, I can't argue with the lineup - the group that probably prompted the creation of the term "Power Trio". Strange Brew and Sunshine of Your Love Deserves all the accolades, but this album didn't blow me away based on how much it's talked about (I'm hoping I will get a different result with Dark Side of the Moon but we'll see). I would say that the second half of the album overall is stronger than the first half (the first 2 songs excepted). All the songs from Tales of Brave Ulysses through Take It Back are all good, but SWLABR is my favorite.

First Alice Cooper album I'm hearing all the way through. Pretty rockin' album, campy, fun/gallows kind of lyrics. The album seemed to get better on the next listen. I was familiar with No More Mr. Nice Guy, but my faves are Billion Dollar Babies and Generation Landslide. The closing track I Love the Dead gets points for it's sheer camp and shock value, literally just months before the first production of the Rocky Horror Show.

Leave it to Dadaists in Berlin to come up with Industrial. Does this qualify as lo-fi? Steh auf Berlin got me tuned in and paying attention. Jet-m gets a mention for having something resembling a melody. Helga gets honorable mention for being a short clip that sounds like a radio followed by more than half of the song being silent.

I've had the album for years but had not listened to it all the way through. Took this challenge to have me listen to it all the way through, and I'm glad I did. Having listened to Mingus' Black Saint and the Sinner Lady earlier in the week probably set the stage. Such a great work, with the beauty of being able to focus in on what each member contributed - McCoy Tyner's piano, Jimmy Garrison's bass, Elvin Jones' drumming, and of course Coltrane's sax playing at his pinnacle. Each element I was able to find an anchor in their motifs and was wonderful to hear it as a complete suite.

Love 'em or hate 'em, this is peak Eagles. For me the dual guitar solo of Hotel California is just epic and memorable for an impressionable 5 year old at the time. Same with the guitar riff for Life in the Fast Lane. I didn't appreciate Victim of Love and Wasted Time until I was older. I had not really listened to the back half of the album, so it was nice to hear Joe Walsh's contribution Pretty Maids All in a Row and Randy Meisner's Try and Love Again, which (harkening back to their earlier sound with Bernie Leadon) was my favorite surprise.

Good, hard-hittin' southern rock from Lynard Skynard. Classic tunes like Gimme Three Steps, Tuesday's Gone, Simple Man (my fave on this album), and of course F R E E B I R D!!!

Michael's first collaboration with Quincy Jones, which helped prompt his next collaboration with Jones, the megahit album Thriller. The four singles (Don't Stop 'Til You Get Enough, Rock With You, She's Out of My Life, and Off the Wall) are hands down the best songs on the album. Get on the Floor and Burn this Disco Out (my favorite) get an honorable mention for having good grooves. Unfortunately the other songs despite being written by Paul McCartney, Stevie Wonder, and Carol Bayer Sager (It's the Falling In Love is just blech) are not strong tracks at all.

Now I get it. Having heard Unhalfbricking earlier, I was a little baffled as that album didn't seem as strong. However, this album definitely deserves to be on the list. A classic traditional blend of "plugged in" and acoustic Celtic folk that reminds me of bands like Clannad and Capercaillie and artists like Lorena McKennitt and Enya. So many good tracks on this album but Matty Groves is my favorite. Adding this one to my favorites.

Campy, glammy art rock - brilliant album by Sparks. Having first heard them in their more new wave phase in the early 80s, this was a fascinating contrast to the more new wave/synth angle they had in later work. It's interesting chord progressions, quirky melodies, and wacky lyrics -- all very catchy, with solid lead guitar work from Adrian Fisher. So many good songs but Falling In Love With Myself, Thank God it's Not Christmas and Hasta Manana Monsieur are my favorites.

In the waning years of the 50s, this album was probably the last definititve statement of Big Band Jazz before small ensembles would shift Jazz, and the electric guitar would fully shift popular music. Fantastic arrangements by Neal Hefti, and captivating solos throughout. As I'm a sucker for walking bass lines Double-O and Fantail are my favorites.

Debut album from Daft Punk, first listen to this group. This has a lot of really crisp, great sounds, but it's a challenge for me to listen to this as I realize this is simpler in a sense that it's not as structured like a typical pop song - it's linear in that it introduces a theme and repeats variations on that theme and moves you through a sonic landscape, all on a good dance beat. Based on what I've read, this wasn't really intended to be an album but they had enough material to make one, and sequenced it to have the best flow. it does have a flow but seems to make up for its lack of complexity with a really good beat, a good hook to anchor, and fun sounds to take you through. Da Funk is fun, Around the World has a good groove but the vocal mantra was getting a bit tired for me. I'd have to pick Alive as my favorite (although hearing the thumping beat for 2 minutes before more structure came in also was a bit much).

Janis Joplin's hit album with Big Brother before she went solo. Musically solid and tight with a swagger (and ripping guitar) that's enhanced with Janis' vocals. Ball and Chain (my fave) and Piece of My Heart are clearly the standouts, but I liked Turtle Blues and Summertime as well.

Disntegration came out the month I graduated - I spent that summer prior to going to college with my brother in Belmont Shore in Long Beach, CA. I had been previously familiar with their Head in the Door Album and their dark, but pop-oriented sound. My favorite station that summer was KROQ and of course they played plenty of the Cure and so much of the New Wave I was so into and loved it. At that time I didn't pick up the album and this is the first time I've given it a full listen. This does have a much darker feel in comparison to Head in the Door and Kiss Me, Kiss Me, Kiss Me. Many of the songs have moody instrumentals at the beginning before the lyrics come in and creates a wistful atmosphere. Lullaby and Fascination Street remain my hands down favorites, but I have new favorites in Prayers for Rain and Homesick. I suspect this will get better over time for me.

Rockin Christmas classic from your favorite wife beater - Phil Spector! Bruce Springsteen later borrowed the chorus from the Crystals' Santa Claus is Coming to Town, and U2 also covered Darlene Love's Christmas (Baby Please Come Home). All the songs are nice versions of Christmas standards, but I'll give a thumbs down for Phil Spector's speaking over Silent Night.

Hard Rockin' best seller for Aerosmith - their 3rd album and just a classic 70's album. Walk This Way and Sweet Emotion are clearly the standouts. Toys in the Attic is a great rocker. Uncle Salty and Adam's Apple are arguably the weakest tracks but they're not show stopping filler - overall it's a more developed, mature sound.

Wonderful album by by Gene Clark, recorded in the wake of a reunion album with the Byrds and ultimately not supported by the label, this is a beautiful assembling of songs with a light folk rock feel reminiscent of CSNY. Great, uncomplicated arrangements, great harmonies, great songwriting. No Other and True One are my favorite tracks. I'm adding this to my regular rotation.

Ok. Depeche Mode this is not. OMD this is not. Tears for Fears this is not. There are probably countless examples of bands of this era that are more notable for their use of sequencers and electronics. Here's why I think this album is notable, or even stretching to important, to merit this being on the list. 2 reasons really, and it's a double edged sword for both. 1. Extensive use of sampling, and to a lesser degree MIDI, both of which were in its advent years in 83-85. Sampling at this time was still 8-bit and not very complex or deep, so it would have been amazing to repeat a sample on demand, but much better sampling technology was still to come. 2. This is all before fully digital recording was mainstream, so despite not sounding "sterile", it also was the harbinger of an "overprocessed" sound that was so prevalent in the late 80's (nu shooz, Lisa Lisa and Cult Jam, Stacey Q, etc.) Two examples of albums that transcend this are probably Depeche's Music For the Masses and Pet Shop Boys' Please, which would be released in the next 2 years. Musically, Lyrically, it's good, solid stuff. It's quirky, and a little funky in a brit, bubblegum pop kind of way. It's just buried in technology. I did buy the album at the time, but just didn't appeal to me in the long run and got rid of it. Most of the tunes are good with catchy hooks (Wood Beez remains my favorite along with the single mix of Perfect Way, but Absolute gets some new appreciation this time around), but some are not (Hypnotize and Small Talk, I'm looking at you).

I've been peripherally aware of King Crimson, but haven't listened to any of their albums until this review. 21st Century Schizoid Man really sounds like it could be coming and going in different directions. Is it metal? Is it psychedelic rock? Fripp's soaring solo and extended jam clearly signals the beginning of prog rock... I Talk to the Wind slows down the blistering glory of the first song. Epitaph expands out and sounds a little more epic, and reminds me of early Bowie. Moonchild has about 2 minutes of structure then devolves into a free form minimalist sound jam that might be in place with early Kraftwerk before they went electronic. In the Court of the Crimson (Kiiiiiiii-iiii-iinnnng ahhhhhhhh ahhhhhhhh) is the epic conclusion with that great chord progression/hook and keyboard solo. This track edges out 21st Century Schizoid Man for me.

This was my first listen to the full album and have a greater appreciation of the entire package. Revolver is just revolutionary. This is the Beatles firing on all cylinders. Refining the studio techniques they started during the previous album, they got bolder with experimentation and produced such a diverse album. From George's Love You To to John's Tomorrow Never Knows and Paul's Got To Get You Into My Life and of course Eleanor Rigby and everyone on Yellow Submarine, it raised the bar for everyone and influenced all kinds of music for generations to come. There's not a dud in the whole lot. Here, There, and Everywhere and Doctor Robert are the standouts of the songs I wasn't already familiar with.

Glorious noise rock that is reminiscent of Pixies, but is really out in it's own universe. A decidedly low fi kind of recording, with lots of screaming guitar. Was originally familiar with the cover of Just Like Heaven. All the songs except Poledo left a brutal ringing in my ears. After a few listens I've gotten accustomed to the sound and it gets better on each listen - finding the melodies buried in the din. The Lung and In a Jar, along with Little Fury Things are my favorites.

Rubber Soul marked the transition from Beatlemania sensation to the beginning of their experimental period, expanding on this on their subsequent album Revolver. A mix of soundscapes, from heartfelt ballads like Paul's Michelle, the very Byrds'-like If I Needed Someone, to John's masterpieces Norweigian Wood and In My Life, to Ringo's vocals in the rockabilly sounding number What Goes On, and a more psychedelic sound in Think For Yourself. This was my first listen to the whole album despite knowing many of the songs. It's just such a amazing set of tunes. In My Life remains my favorite tune, but Paul's You Won't See Me and George's If I needed Someone are new favorites.

This album is a bit of a mixed bag. Musically it's trying to put an older style of music - orchestral pop of the likes of Burt Bacharach - a more modern (for the 90s) twist. Production-wise it's very good - learning it was a live stage recording. Lyrics are quirky but not sure if their deliberately absurdist like They Might Be Giants. I'm kind of conflicted with this one, not sure if I genuinely like it, or like it in a "so bad it's good" way. Everyone Knows and If I Were You are the standouts on this one.

Prior to listening to this I was only familiar with a couple Kinks songs. Biting social commentary and a complete album concept about modern British working class life in the late 60s, coupled with war and politics. It has that slightly off kilter feel that the Kinks did so well, along with Ray Davies' warbling singing, mixing in serious along with silly. A little Beatles-esque, a little Who thrown in, but all great to listen to. Drivin' and Shangri-La are my favorites.

Experimental rock that throws in a calliope and a (at times heavily processed) violin that almost convincingly does substitute duty for a lead guitar, as well as one of the first albums to use electronic sounds, which suits the psychedelic vibe they are going for well. Not quite Captain Beefheart territory, but it's close. Hard Coming Love and Garden of Earthly Delights are the standouts tunes for me.

This album is some foundational blues rock setting the stage for the 60s. A band totally in the pocket, with a rock solid rhythm section to let Booker T. Washington on the Hammond B3 and Steve Cropper on the Tele to shine. Great music to chill to. Aside from Green Onions, Behave Yourself and You Can't Sit Down are new faves.

An interesting sound across the different tracks, generally a chill hop vibe with a little soul feel topped with Indian elements on the fringes in some songs, and more prominent in other songs. Lyrics center around the India-Pakistan nuclear controversy of the late 90s. He blends distinctly western elements - strings, jazz, hip hop, classical guitar, with Indian musical and singing elements. Still kind of mixed feelings about it, but I'm going to give this one further listens. It's intriguing. Homelands is probably my favorite, with Serpents being an interesting standout.

It's got a sound that you would think checks all my boxes - a relatively uncomplicated mix, decent production quality, interesting lyrics, jangly guitar sound.... but it doesn't spark me. Maybe it's the lead singer double tracking and his kind of nasally voice. I dunno. It appears this appears to be the first Britpop album to come out - but I'm kind of confused - I guess someone like XTC doesn't count? Show Girl and Subculture (the hidden track at the end of Home Again) are probably my favorites, but I'm going to award this one my first 2 star review.

An unapologetically classic 70s pop album, with one of their biggest hits - Dancing Queen (my favorite on the album) several other hits such as Knowing Me, Knowing You, Money, and Fernando. New discovery for me was Why Did It Have To Be Me.

This is 41 minutes of fucking intense free form jazz. Ornette Coleman's music is taken and cranked to 11, with and almost metal or punk sensibility to the songs. I can't imagine this intensity allowing for extended play so it almost makes sense they are fairly short songs. Good Old Days is my favorite since it has a consistent hook that's discernable throughout, but Feet Music has a slower, almost rock beat to it.

After the Comeback Special Live album Elvis comes his first studio album, and it's a great album! Putting a Memphis spin on a number of Country covers with a great backing band, he's not phoning it in. As I'm more familiar with the Ronnie Milsap version, hearing his cover that's closer to the original recording was a delight. I'll Hold You in My Arms, I'm Movin' On, In the Ghetto, and Kentucky Rain are among my favorites, but they're all pretty solid.

Freed from what had been becoming the confines of the world's most famous band, this album is a sketch of what is to come on McCartney's own. Playing all the instruments and helped only by backing vocals by Linda on a home 4 track machine, this started as a decidedly lo-fi affair with the the first track The Lovely Linda a test for running the new equipment. But even his doodles have the potential for a top 40 hit. For me this just reinforces the brilliance of his songwriting and arranging. And for being a stripped down affair with minimal effects, it's still pretty damn polished. The mix of instrumentals and sung songs is a demonstration of someone stretching his wings, proving what we already knew: Hands down he is the best pop songwriter of his generation (I'll be biased and say he's the best songwriter out there, but I won't be alone in that assessment). Maybe I'm Amazed (seemingly appropriate towards the end of the album) remains my favorite, but if I had to pick a couple of standouts, Man We Was Lonely and Oo You would be it. But there truly isn't a weak one on here. Just an incredible album.

Must have really sucked living in the UK in the 70s. Somehow the Sex Pistols became the definition of a punk band. It walks like a duck, it talks like a duck. Although bands like the Stooges were around earlier full of attitude and noise, they were probably in the right place at the right time. Combine two taboo words and have band members names like Vicious and Rotten, exemplify all the rage coming out of the UK amidst economic chaos, their noise and attitude was the flashpoint needed for their success. It's all solid musically but the incendiary lyrics create the alchemy to make this a powerhouse. It took the late 80s alternative scene and grunge before punk became respectable in the form of Green Day. Aside from God Save the Queen and Anarchy in the UK, Pretty Vacant and New York are my favorites. This album keeps getting better with every listen.

After 1980's Gaucho, Donald Becker started a period of solo work with The Nightfly. This has a similar polished sound to the how the Steely Dan sound evolved over the years, with many of the same elements, horns, electric piano with chorus, slightly jazzy with a tinge of R&B, but moving more to a decidedly soft rock feel. It's still got a sophisticated sound, but it's, more... light, almost vacous. I dig this sound-for me this brings to mind a New York/Manhattan feel from the early 80s, but I could see this being viewed as slightly more glittery elevator music by most who are speeding through these albums and declaring it lame. New Frontier remains my favorite song on the album, but I also like Green Flower Street and Walk Between Raindrops.

Steely Dan's debut album, a more straight ahead rocker compared to their later work. Donald Fagen and Walter Becker establish their vibe, with Donald's warbly singing and the pair's lyrics and interesting chord progressions. Four of their most listened to songs on Spotify are on this album, and they're all the ones that standout - Reelin in the Years is a classic rock staple if (an overblown but good tune), but the others, Do It Again (with the electric sitar solo), Only a Fool Would Say That, and Dirty Work are really good also - Dirty Work is my favorite of them.

Supa smooth hip hop - a great alternative to the gangsta rap happening on the west coast. Laid back (not frenetic), jazzy grooves established with the bass lines, crisp and rock solid time with the beats and smart lyrics. I love Q-tip's delivery. This album reminds me of one of their compadres, De La Soul, and sets the stage for acts like Digable Planets. I really regret having missed this when it first came out. Check the Rhime has best groove, Excursions is a great intro to the album. Everything is Fair got my attention hearing the gunshots and the closest song to sounding tense. Buggin' Out and Jazz (We Got) are great tunes also. Scenario is a bombastic way to end the album. Fantastic.

A Country-folky sound with a existential streak, this is a great album that leaves no subject untouched. Patriotism/war, drugs, addiction, the environment, relationships, growing old, suicide This is some powerful, vivid songwriting. I can see why was admired and had such an influence on so many. All the songs are gems but Sam Stone, Pretty Good, and Angel from Montgomery are among my favorites.

A lively and at times very spicy showcase of Afro-Cuban Jazz - Great, no nonsesnse arrangements for that classic big band sound. The congas, the wailing saxes and trumpets - wonderful. Congo Mulence is great, Holiday has a nice melody, but Minor Rama is my favorite.

First full album listen of Oasis, on their debut album. Excellent Britpop sound that just checks all my boxes (though I'll have to concede sometimes Liam's voice comes off nasal and sometimes grating). I love Noel's guitar work. All very good songs, but Up in the Sky, Supersonic, and Cigarettes and Alcohol are my favorites.

She is summoning spirits from another plane. My first listen to Siouxsie and it's a good one. Very intriguing melodies, fully leaning into the goth vibe with this album. Just a very tight unit with everyone contributing to make a great sound, but Siouxsie's singing puts it over the top. This music just wasn't on my radar as I somehow didn't catch this stuff in the early days of MTV, but I was just 10 at that point. Musically my closest frame of reference from that period would be Spandau Ballet with their first 2 albums (Journeys to Glory and Diamond), which I could see fitting on the fringe end of this sound, but having that more New Romantic sound. It all sounds good but along with Spellbound and Arabian Knights, Into the Light was my favorite.

Such a short and powerful album. As stripped down as you can get - guitar, vocal, no fancy effects, so raw. Breathtaking imagery and a great storyteller. All the songs are so good, such a shame this was his final work. Easy 5 stars.

Probably the definitive Western Country album. Great Melodies from start to end. If I had to choose standouts I'd go with They're Hanging Me Tonight, Utah Carol, The Master's Call, and of course Big Iron and El Paso.

I'm chuckling at the chord similarity of Believe Me Now to the Beatles new single Now and Then. Just kind of makes things a little full circle with the ELO-Beatles thing. Orchestral tinged pop rock with irresistable hooks and harmonies. Such an obvious riffing off of Beatles structure. I'm feeling very short attention span today so it seems a bit much. Turn to Stone and Sweet Talkin' Woman are among my earliest songs I recall from my childhood. Clearly they've benefitted from a renaissance once Mr. Blue Sky was included in the Marvel Universe. Aside from the hits, Steppin' Out is a standout -- also The Whale sounds vaguely David Bowie-ish.

First album listen for Beyonce - such a solid production and great tunes. I'll want to listen to this more to appreciate.

The Lamborghini album to rival Metallica's Master of Puppets. Classic thrash metal, complete with extreme fast rhythms and the -a-chug strumming. Aside from Peace Sells... I like Devil's Island.

I listened to LA Woman first, which is a good album, but this was so much stronger of an offering. I hadn't heard the extended version of Light My Fire which has a wonderful jam with Ray's organ soloing, then Robbie's guitar soloing. Break On Through (To the Other Side) really does set the stage for the album. The blues influence is definitely there but more of the psychedelic comes through. It's a consistently good album throughout - first half is pretty solid (20th Century Fox, while somewhat clever, is probably the weakest track on the album), but even though I Looked At You had the shortest run time, it was my favorite track. I'm more likely to regularly play this album.

First time listening to III, though of course I'm familiar with The Immigrant Song and Since I've Been Loving You. As a whole it's great material from the band, but it just doesn't move me like the following album and Houses of the Holy.

This is a weird one for me. It's not fitting anything in my frame of reference, and initally I was thinking there were a lot of much more memorable things that came out in 1978 (Elvis Costello, Police, Cars, Van Halen). I'm not a fan of Devoto's voice. It's kind of arty in a quirky talking heads way but then there are bursts of these catchy hooks, but some parts have a gothy feel to it. The sound was starting to grow on me towards the end. I may need to revisit this later and see how I'm feeling about it. Shot By Both Sides and The Light Pours Out of Me are the standout tunes for me.

I'm taken back to watching Weather Channel local updates on this new fangled thing called cable in 1981. I've never considered fusion a thing to sit and appreciate, but older me thinks Weather Report is a very palatable presentation. I might open to this just yet. And yes, Jaco Pastorius just next level on bass.

After looking at the Wikipedia article for some context, I was able to appreciate this a little better. I listened only to the "restored" live set (digitally combining the original live recording along with a radio broadcast recording) through to Mood Indigo with all the introductory banter between the songs. Listening to it as a whole I liked how it might take me back to the location it was recorded in, and the stereo imaging with the combination of the 2 recordings was remarkable, but certain times I could hear some weird phasing effect occasionally in trying to create a stereo image from the recordings. Having The Atomic Mr. Basie as a comparison (mono recording only) I think I like Duke's arrangements better - they have a grander sound and slickness to them, compared to a more jumpy, raw energy with the Count Basie album. Diminuendo in Blue is clearly the standout of the album with the Gonsalves solo, but I enjoyed Newport Up as well.

First Bad Brains album -- some songs are a little more punk oriented, some have a more metal edge, some of it reminds me of Fishbone's Truth and Soul album. I like the guitar work by Dr. Know. I Against I, House of Suffering, and She's Calling You are my favorites.

The Darkness continues a fun, slightly campy classic rock sound for the early 00s. I had taken an interest in his YouTube channel in the last year not being previously familiar with his music, so it's nice to give this album a hear. Just have a fun time with it and don't take it too seriously. Justin's got an impressive falsetto! Of course I Believe In a Thing Called Love is a favorite, along with Growing On Me and Love Is a Feeling.

In the tradition of Carole King, Joni Mitchell, and Carly Simon, a strong songwriter with a more soft rock, soul-tinged, jazzy tunes, with a great vocal range, but not quite as tightly executed as the others. This was nonetheless a pleasant surprise. Stoned Soul Picnic and The Confession are my favorites.

First listen to a Black Sabbath album. Most of the songs were kind of what I anticipated hearing in a classically early metal vein, but a few were surprises - Wheels of Confusion sounded a little more Led Zeppelin-esque and Changes was a straight ahead piano oriented song, and Laguna Sunrise was an acoustic number with Mellotrons (!). Of the more classic Metal sound I liked Supernaut the best, with Snowblind and Under the Sun standouts as well. Tony Iommi has some solid riffs!

First full Radiohead album listen - it's a good one. All the singles are definitely the strongest songs on the album, with No Surprises being my favorite.

Feels a little odd to hear The Bends right after OK Computer - but this album seems a little more straightforward guitar-oriented pieces, with a dabbling of experimentation. Comparing Creep from their previous album, Thom Yorke's voice seems more developed, with more falsetto and vibrato, but for me OK Computer is the stronger album more tight, more developed, more experimentation, tho this has many very good tracks such as Fake Plastic Trees, High and Dry, and Street Spirit (Fade Out). Despite my favoring OK Computer, I'm rating it the same at 4 stars.

At the beginning of Wonder's "Classic Period" of albums, his use of synthesizers and the sounds would define the broader sound of R&B through the end of the decade and beyond. Some of the vocal affectations in Maybe Your Baby would follow to Michael Jackson's singing. This is a remarkable album. Setting aside the wonderful You Are the Sunshine Of My Life and Supersition (absolute banger), the standouts for me are You and I which seems to use synth sounds to sort of mimic a lap steel, and Big Brother, with it's upbeat hook and jaw-dropping lyrics.

My initial impressions of this album from the first track initially were not that good. Programmed drums, guitars getting lost in the mix, I was starting to wonder what this is doing on the list. But after reading Spotify's description of the group, I'm "getting" the concept a little more. The generator classifies this as metal or hard rock. I would consider this more like ironic propaganda, industrial art rock. I'm imagining the video for Leben Heisst Leben is a fleet of Vikings on their way to invade England and they're all having their Viking hats and their arms up and singing tune's title the whole time. F.I.A.T. sounds like a soundtrack to a war-based video game. The '80s sampled symphonic sounds seem almost quaint now. The tunes seem anthemic but the theatricality of this hard rock borders on campy. My ears perked up with the industrial sounds of Trans-National.

1989... Metal was hitting its stride, New wave/post punk was morphing to a more generic "alternative" term, and Lenny Kravitz comes out with his debut album bringing a breath of fresh air in the form of relatively simple but tight production - a more retro funk/rock sound showing various 70s rock and R&B influences, unlike anything that was out at the time. Very eclectic mix of songs, all really good, with a soulful, rockin' groove. Among my faves are I Build This Garden For Us and Fear, along with Let Love Rule.

A more or less Roots/Americana based rock, a sound that reminds me a little of Black Crowes and a little Coldplay in there. Pretty good stuff - May revisit this one more. Sex On Fire, Manhattan, and Notion are my favorites.

That's 43 minutes of my life I won't get back. I found no benefit to hear this album as a whole. Mid 80's pop metal/hard rock at it's cringiest - a little synth, some serviceable guitar by Richie Sambora, but utterly forgettable. This wasn't my thing when it first came out and my views haven't changed. Most of the songs have such vacuous lyrics. This has aged like milk for me. I will concede Livin' On A Prayer and Never Say Goodbye are decent songs, but even that won't save it from being a 1 star album for me.

This album was near and dear to my heart and was in my regular rotation after I graduated from college. Upon listening to it years later, I am struck by how simultaneously really good the music is and also being a little annoyed by its production values. When this album came out, of course there was no other Sheryl Crow albums out before this to compare it to. But then when you hear her subsequent album, you realize that this album, while very polished, sounded a little too "sterile", maybe because of the heavy reliance on program drums? Her next album's single If It Makes You Happy really puts this album in contrast, sounding more organic. So many good songs on this album, but Strong Enough and We Do What We Can remain my favorites.

I haven't listened to In Rainbows yet, but since this is the 3rd of 4 Radiohead albums that I've listened to this week, I'd say this one has an overall sound that is much easier to listen to than the other 3, with OK Computer coming a close second. This has an interesting mix of experimentation similar to OK Computer but again, I seem to like the atmospheric sound of this album better in comparing the 2.

I'm least familiar with this era of Bowie's music (early period through 83, when Let's Dance came out). I could count my familiarity with early Bowie songs on one hand. His look being a major contribution of course, I really started to envision this as a music album that an alien would record after listening to some of our music. I could see how several strands would be influenced by this - punk, post punk, even elements of grunge. I'd probably need to listen to this more, but I'd say the latter half of the album is strongest as a whole. Cracked Actor, Let's Spend the Night Together, and Jean Genie are my favorites.

The funk rock of Red Hot chili peppers with Public Enemy-like anger in their lyrics. Totally missed this the first time around but will be listening to this more. Killing In The Name, Bullet In The Head, and Wake Up are my favorites.

My most charitable assessment of this album is that it sounds a little bit like Cocteau Twins and has a very ethereal ambient sound. My less than charitable assessment of this album is that most of it sounds monotonous and I can barely distinguish the vocals from the rest of it like it's sort of a low-level wall of noise. This is the first album of theirs that I'm listening to on the list. And from what I can tell their other album Loveless is reviewed well. I'm looking more forward to listening to that than this album. The last four songs are a little bit better than the rest, with new you as my favorite because I can hear the instruments not covered in reverb noise.

A wonderful, fun pop rock album. A punky sensibility is present in most songs, and of course there's the Disco tinged classic Heart of Glass. All the songs on the album are really solid but Fade Away and Radiate is my favorite of the new discoveries. Heart of Glass remains my favorite, but I'm Gonna Love You Too has me grinning from ear to ear.

Perhaps for better or worse, this is the album that started the trend of worldwide music influences with major western artists. I think the world is better for it. I can understand the historical context of violating a UN cultural boycott and him getting criticism for it, but he collaborated with wonderful artists like Ladysmith Black Mombazo, Youssou N'Dour, Ray Phiri, and Bakithi Kumalo and pollinated the world with this. What I don't get with reviews is calling this cultural appropriation. I will nitpick on the production, with some of the sound being of it's time in the mid-80s - gated reverb can get annoying. But it has such an eclectic breadth of sounds, from the Zydeco sound of Boy In the Bubble's intro and That Was Your Mother to the happy South African sounds of You Can Call Me Al and Crazy Love, Vol II. The title track Graceland remains a favorite, but Under African Skies with Linda Rondstadt is great too, along with Homeless with Ladysmith Black Mombazo centered on that one.

Eminently listenable punk debut from the Stranglers. Since this is the only album on the list I'll have to seek out the rest, but this is more melodic and with plenty of attitude (and overall more likable) than the Sex Pistols.

Honestly, I can't take this seriously. This is perfectly good music that I think is ruined by shitty lyrics. I'm guessing this is on the list for the tribal-like Burundi Beat sound having an influence on a lot of what would eventually be goth, but it's like decent punky/new wave music, if a little cheeky, but goes into bad campy territory with the lyrics, flourish, and sound effects. My picks for this album are Making History, Los Rancheros (if it didn't have those stupid ricochet sounds) and Killer in the Home.

First Album that was post-Simon and Garfunkel-I'm not as familiar with his early solo work. Very simple, straightforward. and intimate with his storytelling. Clearly stretching his legs with different styles and sounds. I love the classics Me and Julio Down by the Schoolyard and Mother and Child Reunion, but my favorites for this album are Peace Like a River and Congratulations.

Today I learned punk with a drum machine sounds industrial. Pros: Has a sound that reminds me of Nine Inch Nails, Pixies, and a little Nirvana (the latter of whom he produced albums for). Cons: Not the music I want to hear in the morning when I didn't sleep well the night before. That machine is brutally throbbing. My picks for this album are Jordan, Minnesota and Passing Complexion.

This album has kind of an ambient, quasi-psychedelic vibe, but I don't think they've made up their mind if they want to be in kind of a noisy realm like the Breeders or if they're looking to be a little more experimental in the vein of Radiohead. It just comes out as a muddled product. Second half of the album appears to be better than the first. My pick for this album is Desire Lines.

Really enjoyed listening to this one. Great varying grooves from Neo Soul to Reggae to Rap. Just as good a singing voice as MC. My favorites are To Zion, Doo Wop, and Everything Is Everything.

I was vaguely familiar with Tusk, being familiar with Sara and the title song. For me, taken as a whole, this album is breathtaking. This is definitely a different direction from their prior blockbuster album, Rumours. Of the songwriters (Nicks/Buckingham/McVie), each has a more weaker tune, but McVie knows how to craft a perfect pop song and I love her singing. Stevie's songs seem the strongest of the bunch. Lindsey is definitely adventurous in his experimentation but kind of comes of uneven. Faves of each.... Nicks: Sisters of the Moon and Sara (remains my overall favorite) McVie: Over & Over and Think About Me Buckingham: I know I'm not Wrong and Tusk. I really miss Christine McVie.

This is an intriguing album, being the first time I've heard it or the group - but I was peripherally aware of Juliian Cope with his later solo hit World Shut Your Mouth. Intriguing because at the same time of it being new to me, it sounds so familiar with sounds that I would embrace just a year or 2 later in the age of MTV and all the new wave sounds that I picked up from there. It's like it was a signpost of things to come in British pop. It's a very post-punk oriented rock album that was starting to introduce some synthesizers Favorites are Treason, When I Dream, and Reward.

It's got a good groove with a lot of soul samples, and it sounds very very polished, but not feeling much of a visceral impact on me. I may need to listen to this more to see if I find something in it on future listens. Best songs for me are Love is... and GO!

7 tracks of blues rock perfection. They're all great tracks, but my new discoveries are Bootleg, Graveyard Train, and Keep On Chooglin'.

This album is refreshing departure from the gangster rap I've heard so far. Socially conscious lyrics and a mostly fun vibe. My pick are Fishing 4 Religion, U, and Tennessee.

A lovely pick me up album that is irresistible and making you want to move. Lovely harmonies, lovely melodies and Youssou's wonderful singing is is a delight to hear.

I wasn't familiar with any of Marianne Faithfull's music, but I'm so glad to hear this. The sound/production values are of that time, but very clean and crisp, without too much in the way of layered effects, but the synth sounds courtesy of Steve Winwood really add so much to this, paving the way for the great sounds coming up in the 80s. There is a definite punk influence but getting acquainted with where she was in her life by that point, the voice just befits the sound so well. It's a great listen. All the songs are really good, but my favorite tracks are Broken English, The Ballad of Lucy Jordan, and Why'd Ya Do It?

Debut album from a band that kind of hovers in the power pop/pop punk area, but has an interesting mix of sounds between songs. I'm hearing influences like Smithereens, Kinks, and Elvis Costello. Favorites: Caught By The Fuzz, Sofa Of My Lethargy, and Alright.

Early 60's soul singer I was surprised I had never heard of before, but his singing style reminded me some of Sam Cooke. Nice to listen to but it didn't seem particularly groundbreaking, but I've got less context on where he fits in with others of this era. My picks are Cry to Me and You're Good For Me.

Such a great album by the Queen of Soul! Contains her hits Chain of Fools and (You Make Me Feel Like) A Natural Woman, and great takes on The Rascal's Groovin' and Curtis Mayfield's People Get Ready. My favorites are Groovin', (Sweet Sweet Baby) Since You've Been Gone, and Ain't No Way.

To some degree I understand the uniqueness of this album to be on this list - what seems like cobbling together samples of music around some motifs to create a new, unique composition. While reasonably nice to listen to for the most part, this seems like something better enjoyed in an altered state of consciousness. Some of the motifs in songs I like but nothing iterates out to liking a complete song. A lot of this kind of melds together as some motifs carry into other songs, but the standout that kept my attention throughout the song was Flight Tonight.

Beautiful debut album from Joan Baez. Just her acoustic guitar and her angelic voice. So many gems here, but my favorites are House of the Rising Sun, Donna Donna, Mary Hamilton, Henry Martin, and El Preso Numero Nueve.

For me, a *very* easy to listen to album, it's the first of his albums on the list I've gotten, and only the third album I've heard all the way through. Comparing this to his previous collaboration with Lanois - Oh Mercy - I think this has a little too much in the way of effects and atmosphere that detracts from Dylan's music just being allowed to do its thing. Can't Wait had a distinct drum sound that reminded me of U2 that got to the point of distracting. My favorites are Standing in the Doorway and Not Dark Yet.

The Killer's weren't killin' it for me. I forgot that I was familiar with this band before remembering Mr. Brightside and Somebody Told Me. I'm not that delighted to hear those songs again. Not terribly surprised this one was dropped off the main list. If I had to choose a standout it would be Jenny Was A Friend of Mine.

A fun album with most of my favorite hits. Love his voice. Not a particularly tight production but nice to hear him live.

An intriguing mix of vibraphone and Concertina/Bandoneon, incorporated into something that can at times remind me of Gershwin-style fusing of jazz and Classical, with a little gypsy jazz violin thrown in. It's a pretty impeccable live recording. Not something I would have ever thought to listen to. I'll be listening to this more. Favorite is Nuevo Tango.

Interesting album - vaguely conjures some Radiohead, a consistently dreary tone to the album. Given how I like the sound and production overall, my reaction to this album is pretty muted. I didn't notice the initial chord progression of the first song Writing to Reach You is the same as Wonderwall until a second listen, and he even references Wonderwall in the lyrics (!) I do like the melodic composition, but I'll have to chalk it to songwriting; but this album might grow on me over time. My favorite ended up being the hidden track, Flashing Blue Light.

More listenable than the debut Stooges album, and musically it feels like it could hit a bunch of different buckets - Punk, some Doors-like Psychedelia, even some metal, but all a good hard-edged sound with good riffs and ripping guitars. Favorite is Gimme Danger.

Musically and arrangement-wise this is a remarkable album. Good, folk-oriented rock. For me the lyrics are very unremarkable and bordering on pretentious. Some vague disaffected youth stuff but not much in the way of storytelling, just some vague sketches and a few interesting turns of phrase that don't really do it for me. Standout is Bummer in the Summer.

An easy 21 minute listen for me. Clearly hardcore punk but a few songs could go into thrash metal territory. Pretty melodic despite being rapid-fire. This album takes you by the collar and you can feel the hot-spittled rage screaming in your face. Faves are Look Back And Laugh and Cashing In.

They may be known as a punk band, but this album shows a huge diversity of styles that betray the label. They have their core attitude, which permeates across the different styles. Train in Vain will always remain my favorite by a mile, and London Calling is such a classic, but the block of songs making The Right Profile, Lost In The Supermarket, Clampdown, and The Guns of Brixton make my favorite section of the album.

Great Afrobeat jams. All of the tracks are great!

Along with the Cure's Disintegration coming from the same summer, this album brings back memories of being in LA for the summer after my high school graduation, listening to KROQ with this being a new album they were promoting. I didn't know it at the time, but this album's Fine Time was essentially my first introduction to House music. All around a great album - Fine Time, Round and Round, and Vanishing Point are my favorites.

Descriptions for these songs are like bowery blues, acid torch songs, music from the depths of tortured souls. Such quirky wonderful compositions and sounds. Favorites are Earth Died Screaming, Who Are you, Goin' Out West, Black Wings, Whistle Down the Wind, and That Feel.

I was a sophomore in a new school when this came out - so many people were into this album, but being a new waver that was familiar with Run DMC and a few other rap acts, I didn't quite get this, partly because of my dislike of metal when I was younger. A few years later and Paul's Boutique comes out, and I could totally groove with it and subsequent albums, and never felt the motivation to listen to this album in its entirety. Today's the day that changes. The more funk (and maybe to a lesser degree) punk oriented albums Pauls Boutique. Check Your Head, and Ill Communication appealed to me more, and having listened to those end to end in the 90s, I can look back and have more of an apprciation of what they presented in their debut. Definitely more rough around the edges music-wise with all the sampling and scratching, and with Rick Rubin at the helm it was perhaps inevitable that there would be a more harder-edged sound. But their clever wordplay was there from the beginning (and perfectly fits in with subsequent albums) with most of the songs - Fight For Your Right kind of being an exception - but it took me this long to have the perspective that the song I wasn't impressed with was meant to spoof the very audience it was the biggest hit with. My faves are Rhymin and Stealin, Posse in Effect, and Hold It Now, Hit It.

So having listened to a few electronica albums I'm concluding I'm just not that into the genre, but Chemical Brothers is the exception. I'm not sure what it is about them, but the grooves are great -- rhythm and basslines are key with some smart melodic riffs -- and repetitions of patterns and textures are varied enough to keep my attention whereas other artists feel like they linger too long in something. I think vocal samples that are not prominent repeats and are kind of more obscured into the background probably help. Favorites are Leave Home, Chemical Beats, Chico's Groove, and Life Is Sweet.

Very interesting album-takes traditional folk sounds and throws his spin on them, creating a sort of Latin Alternative music, with some rap, plenty of loops (with great grooves) and a mix of Spanish, French, English, and Portuguese, sometimes within the same song. Favorites are Clandestino, Bongo Bong/Je ne t'aime plus, Welcome to Tijuana, and Minha Galera.

With Oasis' Defintely Maybe as the benchmark that I previously listened to, this seems a little more hard-edged yet also more quirky (kind of reminding me of the Kinks) than the Oasis album - I'm also left a little less impressed with this one. My picks for this album are Badhead, To The End, and Clover Over Dover.

The unique melodies and sparse percussion/beats in his arrangements give this a very minimalist, almost confessional level to his R&B/soul style. It's not overproduced and gets its messages across so clearly and cleanly. This is a breath of fresh air for R&B in a simple, accessible package. Lots of good tunes here - Thinkin Bout You, Sweet Life, Super Rich Kids, Crack Rock, Lost, and Pink Matter are the ones I was drawn to.

it's got some real pop chops but it's kinda punk combined with avant/art rock lyrical musings that aren't really sung as they are declared. Some songs kind of remind me of Velvet Underground. So many catchy riffs... I really like it! Rollin' Dany is one song tha comes close to a conventional song, kind of sounds psychobilly. Other faves are Spoilt Victorian Child, L.A. Gut of the Quantifier, Paintwork, and I Am Damo Suzuki.

I've always been focused on their early singles, exemplified in their popular early 70's compilation Endless Summer. It was the traveling soundrack to my early childhood as it was one of the 8 track albums that was played in the RV camper we used as we traveled around the US. I hadn't listened to a full album of theirs until the last 5 years with Pet Sounds, and even that was a tough listen which eventually grew on me enough to truly appreciate what a spectacular album that is. This album seems to pale in comparison, although they are moving a little beyond surfing and cars with this one, with some of the melodic complexity coming into focus that would come into full bloom with their next album, Pet Sounds. Harmonies are as lush as ever, but my older perspective reflects on the almost painfully simplistic or naive lyrics, it just feels white-bread and dated. My bias remains with Brian singing lead. Favorites - Help Me Rhonda, Dance Dance Dance, She Knows Me Too Well.

I felt less than impressed with this album as it felt kind of disjointed and cobbled together for a "concept" album. Maybe the first half was the concept and the rest was a mix of unused Graduate recordings (aside from the tremendous Mrs. Robinson) and an audio recording of old people? Mrs. Robinson, America, Hazy Shade of Winter and Bookends themselves should warrant this a 5, but I hesitate. Maybe I can get used to an acoustic duo using a Moog bass? I'll give them credit for the contrast.

Having heard Trout Mask Replica before this album, this one seems almost genteel with something resembling conventional form for a lot of the album. You can see the demon horns of experimentation start to peek its way in right from the beginning, but hasn't gone off the deep end until Frank Zappa's guidance with Trout Mask Replica. Heavily blues influenced, with some R&B variation thrown in. Some of it feels like it could be Psychedelic but it lacks the reverb-spacey sound for the guitar. Among my faves: I'm Glad sounds almost doo-wop/50's soul.... Yellow Brick Road sounds kind of like CCR... Autumn Child sounds the most like a psychedelic song... The 3 instrumentals: On Tomorrow, Big Black Baby Shoes, and Dirty Blue Gene, as well as Trust Us, all start showing that going off the deep end that was greatly explored in the next album.

Wonderful melodies, some songs have utterly depressing lyrics. It's Classic Country - Bakersfield sound. Favorites are My Rough And Rowdy Ways, and the more upbeat numbers, If You Want To Be My Woman, Skid Row, and Mixed Up Mess Of A Heart.

A little Ramones, a little Blondie with harmonies. Punk and New Wave undergirds it all, but there's interesting variation - a little rockabilly, one sounds a little Goth. Solid guitar Riffs and tight rhythm section. Favorites: The Once Over Twice, Adult Books, In This House That I Call Home, and White Girl.

In and of itself, this an earth-shattering album. I do get how this influenced so much to come after it though - the lines of Indie and punk are in there. Favorite songs are perhaps the simplest and closest to conventional - I'll Be Your Mirror. Sunday Morning, Femme Fatale. Run Run Run sounds the most of it's time. The rest get very experimental.

It's interesting to hear a pre-disco Bee Gees album, but this seems like an overwrought album. tracks 3, 5, 7, 13 and 17 probably could have been left off the album and it would probably made the album better. The rest of the album seems very derivative -Dylan, Beatles, Beach Boys. Give Your Best has an obvious country/bluegrass inflence, but it just comes off like it's mocking the music, almost Rocky Raccoon-ish. My picks for this album would be Melody Fair, Barley Purt Drive, and Never Say Never Again.

The dark themes continue in this Double-album presentation, but this is easily the most accessible of the Nick Cave albums I've listened to. Sublime music that ranges from very dark to uplifting, but the dark lyrics throughout can almost seem dissonant and have a greater impact. All the songs are literally good, but among the faves of each album: Abbatoir Blues: There She Goes, My Beautiful World Nature Boy Let the Bells Ring Lyre of Orpheus: Breathless Babe, You Turn Me On Carry Me O Children

Eric Clapton with Duane Allman hitting on all eight cylinders. Only a couple of weak tracks here. This is all classic blues rock. Some of it sounds a little noodly but it's all good. Along with Layla and Bell Bottom Blues, my favorites are. Have You Ever Loved a Woman and Nobody Knows You When You're Down And Out. However, there are far far better versions of Little Wing out there.

A little blue-eyed soul, a little Beach Boys Orchestral Pop, even a little Byrds' style jangle-pop, but for me not having any particular cultural touchstone to go with this, it just feels, well, dated and missing the mark. More interesting things were out at the same time in early '67 - I guess this just doesn't resonate much with me. Standout for me is You Better Run, with it's harder edged sound.

Rhythm box beats, repeating patterns, and the truth. Stark lyrics befitting of the band's name. Standout song for me is Cheree.

This is just incandescently brilliant music. The drunkard beat poetry lyrics are pretty good too. Anyone hating on this album but at the same time loves Dylan for his singing need to STFU. Favorites? Yes, all of them.

Biggest selling album of all time, and it's mostly aged well. The McCartney Duet The Girl Is Mine is just cringey now, but I liked it well enough when it came out. Only 2 songs were not singles, and I'd pick Baby Be Mine as the standout. The big singles of course speak for themselves - it's peak MJ as far as I'm concerned.

Not Punk but clearly of it. Not Grunge but clearly a signpost to it. Faves are - the first 5 songs as a block, and Shut The Door The 3 Songs EP included in this is a nice bonus - Joe 1 is my EP fave.

Stellar recording, including a live Smoke On The Water version. For me their jamming ranged from fun to boring. This is probably fine as an album to listen to in the background. Fave is Strange Kind Of Woman.

His signature baritone sounds as good as ever, if a little world-worn. His final album released when he was alive, has a mostly wonderful mix of songs I think Big Iron and Wichita Lineman should have stayed on this reissue, but it's easily found on the next album Unearthed. We'll Meet Again just sounds so wistful.

Great sound, great album. Blues firmly undergirds the sound on the album, and while there are more poppy elements (Everlasting Light, Tighten Up, Howlin' For You), they blend that with a very laid back feel where even the more rocking pieces feel pretty chill. She's Long Gone and Sinister Kid has a Led Zeppelin by way of Beck feel, Never Gonna Give You Up has more of a Soulful/Memphis feel, and These Days has a kind of Midwest Emo feel. Faves: Tighten Up, She's Long Gone, Sinister Kid, Unknown Brother.

Live album with great energy despite the so-so mix. Faves: Ace of Spades, Iron Horse/Born To Lose, Bomber, and Motorhead.

First Rolling Stones album I've heard so far, not as familiar with their earlier releases. This is a good one, although the US version had Paint It Black which along with Under My Thumb. The bluesy songs are the stronger ones for me and are closer to what I'm familiar with. I like the sequence of Doncha Bother Me, Going Home, Flight 505, High and Dry, Out of Time, and It's Not Easy, along with Think.

This is rightly in the vanguard of the emerging post-punk scene - I really don't see the elements of punk itself except for maybe the intensity, but it just so clearly is the signpost of things to come in the 80s, particularly of goth. It's got an awful lot of space for punk. The rage evolving to angst. The Cure, Siouxie, Tears for Fears. Peter Hook's unique bass playing are present from the get-go. Shadowplay, Insight, She's Lost Control, and Interzone are my favorites.

Familiar with album from way back but apparently wasn't aware of the history - sounds like he made the most of how the piano sounded and it was magical even before I knew the story - so many little gems within the work as a whole. You can't analyze it from a conventional song structure perspective. It's remarkable hearing the struggle and then finding the sweet spot - totally understandable he would exclaim in delight! Like someone else said it's a testament to the power of being in the moment.

Nice introduction to Indian music - in the context of when it came out it may have been groundbreaking, and it no doubt had an influence on western music in the wake in things like the Rolling Stones' Paint It Black, or any number of George's Harrison's contributions to the Beatles starting from Norweigian Wood to the Lady Madonna B-side The Inner Light. It just doesn't light me up.

What's there to say? It's Zep. Whole Lotta Love and Ramble On are the stars, What Is and What Should Never Be has a nice moving bass line, but Heartbreaker is the fave.

So much praise for Exodus! It's like THE Reggae album to listen to. Not a bad song among the lot and has most of the classics you know from him. Faves are Waiting In Vain, Natural Mystic, and Exodus.

Starts out interesting and somewhat whimsical but as you listen it's like you're witnessing a genius's slip with reality (particularly with the last 3 songs). Here I Go and She Took A Long Cold Look are my favorites.

Dank.

PJ Harvey has existed in my periphery since she came on my radar in college with her album Rid of Me, but somehow I never really took her in. With Stories From The City, Stories From The Sea I'm glad I gave her a full album listen but also some sadness I hadn't paid more attention to her earlier. Great guitar-oriented indie rock with an easily accessible sound, I've been playing this album on loop and listening to her back catalog for the last week. Many great songs on this album including Good Fortune, The Whores Hustle And The Hustlers Whore, You Said Something, and the Thom Yorke collaboration This Mess We're In.

Post hardcore that despite a serviceable rhythm section seems to just sound like drivel. Too many grunge and noise rock bands it tries to sound like but doesn't come up with a memorable sound - it just doesn't make up it's mind. Many songs seem to start out fine but guitar and vocals just come off as self absorbed garbage.

I'll have to concede that I just never really dug TLC - I'm not much of a fan of early '90's American R&B with the notable exception of En Vogue. Polished production, plenty of special guests like P Diddy and Dre, but some songs sound pretty dated to me with the DX7 sounds. Aside from Waterfalls which is definitely the highlight, I was pleasantly surprised by Switch.

Frenetic. Punky, A little arty. And really good. They stretch a full sound out of guitar, drums, and vocals. Karen O's vocals kind of remind my of Siouxsie Sioux, if she was in a more garage rock kind of band. Brian Chase's drumming is almost Larry-Mullen like in its precision. Nick Zinner's guitar and keyboard create a round out their edgy sound and fill it with great textures. Maps is easily the most accessible song, but Tick and Y Control are my faves.

The jams are fantastic, great vibe through the whole album - but it's definitely a few steps from polished. It's like this album is kind of a contunuation of their prior album. Along with Black Magic Woman/Gypsy Queen and Oye Como Va, my favorites are Se a Cabo and Samba Pa Ti

With the album released just prior to the Berlin Wall coming down, Tank Battles is a late 80's recording of music composed in the 1920s by a frequent collaborator of playwright Bertolt Brecht, Hans Eisler. Some songs are sung in English, some in German. This is about as early modern as you'll probably get as far as compositions - it's an eclectic mix that brushes cabaret, jazz, and 20s popular music. It's indeed very evocative of interwar Berlin, with chronicles of the descent into madness prior to the Nazis taking over. This feels like very important music - at times absurd/dissonant, and others very elegiac. Not an easy listen for someone whose ears have not heard much before classic rock or early rock & roll. The astute among you will recognize the last song of the album repurposed by Sting as The Secret Marriage on ...Nothing Like The Sun. It's well produced and sounds mostly era-appropriate, with a little bit of chorused guitar creeping in with it's 80s sound Favorites are The Perhaps Song, Ballade von der belebenden Wirkung des Geldes, Song of a German Mother, Bankenlied, Mother's Hands, and To a Little Radio.