I’m surprised that I’m giving this such a low rating, but even though I liked the style, there wasn’t really anything that grabbed me.

It was fun, but for the most part it faded into the background for me.

Insanely catchy. Half the album’s already classics that play on every rock station, which I didn’t know, never having gotten into Nirvana. I thought that maybe they’d had a series of albums that all had a hit- nope. This could be a greatest hits album with how stuffed full of classics it is.

I’m not sure quite how to rate this. It has a lot going for it that I enjoy. But I listened to it in headphones, and the stereo was shockingly bad. I almost quit on that alone. I think if I’d listened to it in mono I would have probably loved it. So, I’m not sure how to rate it: High because of the potential, or low because of the actual? This is already one of my longest reviews and I’ve said actually nothing. Fine. I’ll go with a four and call it good.

Damn.

I listened to it yesterday, and thought I’d be giving it a four. But not that I’m sitting down to rate it, I can’t remember a bleedin lick of the damn thing. Not that memorable, I guess.

I went on a rollercoaster with this album- which is surprising, given that it’s only 33 minutes. I love this album. I listened to it twice. But I almost didn’t finish it at all because, in the first listen, I hated the first two tracks. They sounded ugly. And while God loves ugly, I just wasn’t in the mood. I also couldn’t take the first two tracks because, whenever they sing about bones, all I could think of was that Tim Robinson where he sing about the day all the skeletons came to life. It’s a funny sketch; if you haven’t seen I Think You Should Leave, please do. So, those first two tracks were ugly and I was fighting back laughter the whole time. Not a great start. But the rest of the album was banger after banger and it left me wanting more, which is why I jumped right back in. Hadn’t heard it before and it is probably my favorite album so far.

It only gets this high a rating because I could listen to the last four tracks forever. The rest of it is completely ignorable. I think if someone else made this, some rando instead of Bowie, it doesn’t get listed here.

I guess I got a type; this is the second album I listened to twice back-to-back. The first was Surfer Rosa.

Not an expert of jazz, don’t know much about it at all, but this is basically what I imagine when you say jazz.

My wife’s favorite album from her favorite band. We have Fly By Night framed on the wall and Neil Peart quotes in her band’s classroom. The impact Rush has had on my life through their impact on her is huge. Even if I were inclined to try for ‘objective’ ratings, with this band, I could not.

Why listen to this when Buddy Holly exists?

Lmao what? Nah.

I’ve never listened to Neil Young before. This album told me that there’s probably an album of his out there that I would love. Just not this one.

This is the style of hip-hop I can listen to forever.

Mesmerizing. Transportive.

I’ll just copy+paste my thoughts from another thread: “I had a weird experience with Weather Report, where my estimation of the album declined in retrospect: I listened to it on Spotify, and liked it well enough, but was surprised it was such a long album, so I checked how much was left- it had ended eight songs ago! Spotify had started an automatic playlist of similar songs. So similar, in fact, that I couldn’t tell any of the artists apart. I don’t know if this is a Seinfeld situation, where Weather Report sounds generic because they had massive influence, but realizing that half the songs I liked weren’t even Weather Report- and I couldn’t tell the difference- made me judge it a little bit harder.”

Started off strong, captured the feeling of a live show quite well. Overstayed its welcome.

Wonderfully charming.

Solid album, great musicians. I would have liked to have been able to understand the vocals a bit more.

I’m not sure quite how to rate this. It has a lot going for it that I enjoy. But I listened to it in headphones, and the stereo was shockingly bad. I almost quit on that alone. I think if I’d listened to it in mono I would have probably loved it. So, I’m not sure how to rate it: High because of the potential, or low because of the actual? This is already one of my longest reviews and I’ve said actually nothing. Fine. I’ll go with a four and call it good.

Perfectly fine. I just couldn’t engage it as anything more than background music.

What a pretty voice. Tremendous control over his instrument.

Third album to get repeat listens. This is also one of the few albums I knew going into this project. Even the songs with which I am overfamiliar because they play on every rock station ad nauseam- cough, Bohemian Rhapsody- don’t become less magnificent because of that familiarity. I love this album like Roger loves his car.

Easy listening. I will return to this, I’m sure.

Had stuff going for it, but it was very uneven. Some songs I couldn’t stand. Some were catchy. I definitely didn’t enjoy this one enough to revisit.

I wanted to like this more, and Tina Turner is a force, but the rest of it really left me flat.

This is right up my alley.

Aural celery. The moment it ended, I forgot everything about it and hungered for real food.

Just listened and am now pregnant.

Passions of youth carry this album to greatness. Sounds dated, because it is, but it transcends the mid-90s artifacts that threaten to drown it.

Insanely catchy. Half the album’s already classics that play on every rock station, which I didn’t know, never having gotten into Nirvana. I thought that maybe they’d had a series of albums that all had a hit- nope. This could be a greatest hits album with how stuffed full of classics it is.

Indebted to the artifacts of its era in much the same way that Private Dancer was, and much to similar flat effect. I just happen to like folk more than drum machines, so an extra star.

I enjoyed the vibe and will probably keep that Matty song available.

Gosh golly that was an ambitious album, wasn’t it? There were moments where the musicality felt genuinely timeless, like a piece of classical music.

Damn.

Fourth album to get back-to-back listens.

I’m glad I l heard this, though I’m not sure I can say that I enjoyed this. I take that back- I did enjoy this, and there were enough experimental and creative moments that it kept me engaged throughout. It felt like it was made with a proper punk ethos, which I respect, though this was genrefied as post-punk. Was punk already dead in ‘78?

Like a British Woody Guthrie. I liked it.

I rolled my eyes when I saw yet another British folk album and, before I even heard it, I decided I was going to give this album a one-star review as a sort of protest vote. Sorry Richard Thompson, nothing personal, you’re just the wrong album at the wrong time. Three folk albums in one week? Are you kidding me? 1001 flavors of folk, is that what we’re doing? Aren’t there more genres than British folk and British rock? Good luck telling that to the dudes who made this list. So that’s where I started with this album. But it got a three. It won me over even through my folk fatigue. I thought the duo’s voices were perfectly complimentary, the songs were folksy charming, and that it didn’t outstay its welcome. If I had gotten it fresh out of the oven, instead of getting it as the third folk album this week, I probably would have given it a higher rating. From this list, so far, this is probably my favorite album that I will never listen to again.

Transports me to a smoky jazz club, puts a whiskey on the rocks in front of me, and a cigar in my hand. I could stay in this club all night.

Quite good.

I’m surprised by how good this album was, given how little I liked the other Alice Cooper album. Billion Dollar Babies? Not gonna look it up, but I think that was it. This one was dynamic, creative. I enjoyed and didn’t expect the bluesy, jazzy, soulful elements.

It was interesting, and for that I am grateful. I’d rather listen to an interesting misfire than a too-safe nothingburger. I don’t know how to feel about this album. It did not entrance me like one of the great albums, but I am relistening to Les Enfants right now. There’s maybe something to this album, maybe even something special, but I don’t think I caught it in my first listen and I don’t know if I care enough to search for it. I think this album probably deserves a deeper review after it has time to digest, rather than a review on first-taste.

My least favorite Air album. It is a soundtrack and feels like it- by which I mean, background noise. Le Voyage Dans La Lune, 10000 HZ Legend, and Moon Safari are all better albums by the same band.

Pretty freaking good.

I laughed, I cried, I pissed myself. A placeholder album. Low-effort, I’m-it-for-the-paycheck energy I went and listened to Madvillainy upon finishing this one, just so that the day’s listening wasn’t a waste.

Fifth album I listened to on repeat.

Very fine music with a great Rasta attitude.

Except for Kashmir, I’ll just listen to Les Zeppelin IV if I get the urge to toss an a Led Zeppelin album. So I liked this, but probably won’t revisit.

This gets real close to being perfect.

Best live album I’ve heard?

Solid album. Nothing really stood out to me, but they were varied and creative and I liked that.

Solid. I didn’t feel strongly about it one way or the other.

I love these song titles.

My first listen of this album. I need to give it another listen later when I’m healthy, because I am seriously congested right now and my left ear is all stopped up. I could tell there were sounds I should be hearing, but wasn’t.

There wasn’t anything wrong with the album, per se, but I kept trying to figure out what the secret sauce was that earned it a spot on the list and, man, I just couldn’t find it.

I don’t know how I felt about this album. Whilst trying to quantify a rating, I’ve ranged from two stars all the way up to four stars. Maybe I need another listen to solidify my thoughts, but my reviews are basically all off the cuff reactions, so I’ll put three stars and be done with it.

The underdog success story behind the album is surely laudable. but I think that I don’t quite connect with this gentleman’s artistry. I read that he was also involved with Pentangle, and that album also left me cold.

That was a super solid album.

I grew up on these songs, so that probably influences me a bit, but all the parts just fit together so well! The swagger of the lead vocals, the virtuoso guitar, everything about this is confident and powerful and works together to make a superb hard rock album.

Comfortable and pleasing as a cool breeze. Over just as quickly. Sticks in the memory just as much.

I don’t have much to say about this one. I liked it and can see myself putting it on again sometime.

I liked it, and even bobbed my head to a couple of songs, but overall, it felt to me like a rough framework of what was to come later with acts like Shpongle and Entheogenic.

I’ll always applaud an ambitious artist, but it’s rare that the ability rises to the level of the ambition. Even rarer when the level of ambition is this high. I’d only heard the singles, so I didn’t know the range of the whole album. It’s crunchy, sometimes. It’s melodic, sometimes. A gamut of emotions, all beautifully expressed.

Hearing this so recently after their self-titled, I’m struck by how more “of its era” this album felt. The first was a swaggering proclamation. Except for the songs Jump, Panama, and I’ll Wait, I don’t feel like they jump to those same height.

I’m not too versed in country, but this sounded like pretty standard fare. I don’t entirely understand its inclusion.

It’s taken me a while to get over the idea that Elvis is my grandma’s music- though it literally is, she would play it all the time- but I’m glad I did because he’s pretty goshdarned good.

Paint It Black was my ringtone back in high school. It’s high on my list of rock songs. The rest of the album is solid. I have always loved the bluesy rock.

I listened to this while driving alone on an empty desert highway, and I cannot recommend that experience highly enough. I think that is the ideal listening situation for this album.

Yeah, good.

Man, this was so close to being a masterpiece.

This was entirely fine, with moments of really good. On balance, it’s fine.

I Had Too Much To Dream Last Night was good, but…

I already got this album, back before I joined a listening group.

Good music, a lot more range than you might give them credit for if you only knew the big hits.

It’s weird that this review is taking this path, but it is, so oh well- there were mouth sounds in the spoken words bits on some of the songs. This bothered me. You’d think that there would be some kind of quality control. But I definitely heard lip-smacks and suchlike, and I don’t wanna hear lip-smacks and suchlike. Drink some applejuice or something, eh? I also don’t understand people who are into mouth sounds as ASMR. Or really, any ASMR. It puts me on edge, but people think it’s relaxing? What? If I’m gonna listen to something I wanna, you know, listen to it. I think that ASMR broaches the liminal aurally. It’s also kinda voyeuristic, no? IDK- I hate ASMR and don’t wanna hear mouth sounds. South Side was good though.

Solid straight ahead rock. I would love to listen to this in a medium-sized venue, kinda intimate atmosphere, but entirely understand why their arena tour fizzled.

Immaculate songwriting perfectly complimented by minimalist production.

This album made me dance across the house Sunday morning and also made me realize how few albums on this list, at least so far, have made me stop what am doing and just be in the groove. This was one of them.

Perhaps Cream’s reputation was impossible to match, but this was my first listen to Cream, and after years of hearing praise get heaped on them, I did expect more. Sunshine of Your Love and SWLABR lived up to the hype, but the rest of the album left me cold. Again, I think it’s due to the overhype- if I’d listened to them without preamble, then I might have been able to listen without my guard up, but I came in ready for A Masterpiece and got a good album. Perhaps they deserve a relisten at some point so that I can judge them on their own merits. Nah.

That bass player was going for it! He leads the album off and I could never take my ears off him after that.

I think that this era of post-punk doesn’t really grab me the way I would hope. Nothing wrong with this album, but nothing for me to hold onto.

I went into this day of listening already mad at the album for being so fucking long- three hours of love songs? WTF is that shit? I almost even let this be the first album I skipped- I was gonna give it a one and say, “Fuck you Magnetic Fields, hire an editor next time, you cheap bastards. Why not just take the twelve best out of the lot and make a normal album?” Well, that question never gets answered. And even with everything else I’m writing, I still think they should’ve just picked the twelve best and made a normal album. But, I had a long, boring project to do at work and thought, “Well, shit. I’m gonna listen to three hours of music anyway. Might as well be the album of the day.” I am glad I did. First off, I hadn’t heard of them before, but I love his voice. I love Bass vocalists, like that cat from Type O-Negative. Which is good, because you couldn’t make it through an album of this length if you don’t like the voice. Even still, I think it was smart to bring in so many guest vocalists, if only for variety’s sake. And variety it had! All sorts of different types of love were written about, and they were written about in so many different styles and arrangements. They managed to keep it fresh for me the whole time. First time I checked how much time was left, I was already almost done with Disc Two! I thought they managed to keep it all moving along quite well. The realization that the maniacs were pulling it off- they were making a three-hour long album that I was happy to hear- pulls it up to a five, just because I’m wowed at the achievement. Having said that, having said all of this, I couldn’t tell you a bleeding single out of here after disc one because that’s when it all started to blur. Just like how you can binge a show, enjoy it all, but not really know what happened in which episode because you didn’t experience it in episodes, you experienced it as a whole construct. This is the five-star album I am least likely to revisit as a whole. It earns it for being such a special achievement, but I’ll still be happy whenever any of these songs come on my shuffle. And I still think that Magnetic Fields should have hired an editor, the cheap bastards.

Entirely forgettable. This can’t be their big hit, can it?

Absolutely the best album for marinating in your own sadness.

Pretty enjoyable.

I think this is going to be like the Nick Drake album we got a while ago, by which I mean that it will get better the longer it gets to marinate.

Greatness. I loved that it wasn’t so far removed from root rock or jazz, you can feel those influences in this album. This is the font from which all metal flows, and it is awesome.

Man, I had this CD in the car for a while. It’s not deep, it’s not a masterpiece, but boy is it entertaining. The best hair metal of the 2000s?

Good music.

It was good… but a bit noodly, no?

Not a discerning jazz listener. It’s all good to me.

I’m surprised that I’m giving this such a low rating, but even though I liked the style, there wasn’t really anything that grabbed me.

I thought this was pretty much a perfect album. From the songwriting, to the musicianship, production- everything is done to such a high level. Not to mention- it was a damn fun listen, to boot.

Not nearly as offensive to the ears as this website’s consensus would have you believe. After the first song, anyway. I liked some of the ideas in this album, even if they didn’t quite pull all of them off.

My random connection to Earth, Wind & Fire- my wife taught music to Philip Bailey’s son.

I liked the start of the album, but then… I don’t know. My interest waned and by the end I didn’t care. Solid musicality throughout, however.

I tried listening to this album three different times, because I wanted to give it a fair shake and thought maybe I just wasn’t in the mood for it. Three days, three tries, zero listens. Whatever it is that is in this album, I can’t say, all I can say is it bounces off me entirely and this is the first album I didn’t complete

They went long on a lot of their songs, didn’t they? Even the classics aren’t unassailable- they could probably all be cut down by 25% and be fine. Having said that, exemplary rockers who defined their subgenre entirely.

It isn’t bad, I don’t think, but I’m not getting into it. I also didn’t rate Ready to Die, so maybe I just don’t like this era of the genre?

Loved the drums. Loved the singles. The rest was good, solid, straight-ahead hard rock. Solid album.

I’ve never wanted to give a 4.5 more than I do here. On the one hand, changed the game, amazing production, tra-la-la. On the other, a lot of it was…fine. Filler tracks. On the other-other hand, we are clearly listening to the work of a master, especially with the intro, out to, and Day In The Life. The great parts catch me, the twee parts bore me, it’s got a great legacy, put all that in a blender and… I’ll give it a four-and-a-half, then round up in deference to the landmark achievement that is this album.

This is the first album in a minute that made me want to get up and dance. And though I hadn’t heard it before, I *loved* Church of the Poison Mind. I think I’ll work a few of these songs into my regular rotation.

I don’t know if this makes any sense, but during my listen, I had the thought, “These guys believe in monsters.” Like, there’s something lurking just outside of the music? That element of the music did give me a thrill. Besides Killing Moon, however, I’m not sure I’ll be revisiting this album.

This was fine music, but I found myself annoyed with the singer.

I liked every part right up until the last two songs; they just didn’t grab my attention.

In my first Neil Young review, I wrote that even though I didn’t particularly like that album, it showed me that there was probably a Neil Young album that I would like. I think that is this album.

I like Dylan’s songwriting. I like the way it flipped from acoustic to electric halfway through the album. It brought energy and renewed my attentions. I think there were some songs in here that found Dylan indulging in his worst habits, lyrically, the habits that get caricatured in pop culture; the rambling, pseudo-insightful nonsense imagery. I’m about that, for the record, so this isn’t a criticism. I quite like when artists have some pretension.

This was a very uneven album, but full of creativity and flair. There were some songs I hated, some songs I really enjoyed, and I think I recognized one or two of them. I can’t say I’d recommend this album to anyone, however, and I know I won’t listen to it again.

Good music-making, but whatever audio effects they were doing to the vocals were simply distracting and garbled the lyrics, which is unfortunate, because the few times they just led their frontman sing were the few songs I really got into.

Heroes is a great song, and most of the album is good. I can’t think of a single song I disliked, and I know I’ll relisten to this album. It just falls this side of a rounding error short of being a five star.

I don’t think this is one of Mr. Dylan’s big hits. I don’t recognize any of the songs, at the least. Nevertheless, this is my favorite of his albums from the list so far. He doesn’t drift too far abstract in his imagery, which is something that I felt plagued the previous album. Just straightforward and earnest.

Idk Madonna’s work outside of her hits. The only other album of hers I’ve heard is that soulless cashgrab country album that I gave a one-star review. This doesn’t feel as I would have expected a Madonna album to feel, but I really like it.

Bare bones, straightahead garage rock without flares or frippery. I think that if you disliked the overall style, this album would be a slog, because they don’t demonstrate much breadth. Fortunately, I like the style.

I avoided Bob Marley for the longest time because, for the longest time, the only people I knew who listened to Bob Marley were the white stoners from college who had just moved from the suburbs, who pretended that Rastafarianism was like some funny Jamaican Buddhism (but better because Rastas toked), and had mass-produced Che Guevara posters on their walls. I avoided, well, I avoided anything that crowd liked, honestly, so I skipped Mr. Marley. I wish I had heard this sooner. I think that it could have been a foundational album for me in my youth, what with its social commentary over solid beats. No Woman No Cry was the big standout for me, but the entire album was solid.

Can I be impressed and bored? Yes, yes I can.

This would go perfect, listened to over a bowl of cold porridge. This is mushy peas you forgot in the fridge. Even the singer couldn’t muster up a single shit to give to this album. “Why does it always rain on me? Is it because I lied when I was seventeen?” No, it’s because you live in Scotland, ya moppy git! My advice- don’t go at other artists in such a milquetoast way. Say it with your chest if you’re gonna say it at all. All the complaining about Wonderwall just made me realize I hadn’t gotten What’s The Story, Morning Glory? on this project. Looking forward to that. Odelay was also good. This album was not.

Good, classic punk.

It has some of my favorite Leonard Cohen songs; it has some of the worst Leonard Cohen songs. I love its minimalism. He doesn’t sound quite confident on a few of the songs, I think.

It turns out, that La Grange is the only one of my favorite ZZ Top songs that was actually done by ZZ Top; the rest were Lynrd Skynrd songs I’d misattributed to ZZ Top, like Gimme Three Steps. La Grange is surely a classic, and the rest was solid.

I hadn’t heard of Emmylou Harris before today, but this album convinced me to do a deep dive. I didn’t like every song, which stops it from being five stars, but the ones that I did nearly brought me to tears. At its best, it commanded my attention. I’m excited to learn more about this artist.

Pleasantly surprised by this one. Hadn’t heard of the band, unimpressed by the album cover, and I expected little. It was fun and adventurous. I might even look for more from these men.

I quite liked it. Some songs were rather silly, but that made for a fun time.

No connoisseur of blues, me, but I’ve always liked Muddy Waters when I’ve heard him. Is this his quintessential album?

It was fine.

This was whiny in a creepy way, right? There was some interesting imagery in the lyrics, but a lot of it felt actually creepy.

This is not what I expected, but pleasant surprises are ever and always the hope in undertaking this project. I had it in my mind that Iron Maiden was proto-thrash; I expected this to be angry, aggressive, exhausting. This was very complex and cerebral, with operatic references, no less. Also- not the vocalist I knew from the small handful of songs. I had a grand ol’ time, and I look forward to digging more into this bands discography.

There were a couple of absolute five-star songs, but besides those, I’m not sure I’d return to this album. But, absolutely top-of-the-class early 90s alt rock.

I loved the bluesy feel here. It didn’t feel like a repeat of their other album I heard, so they were continuing to experiment and grow. Solid throughout.

I really liked this. I didn’t know this side of Bruce; I pretty much only know his big hits. I was surprised, and realized that this is yet another artist whose heyday was before my time that deserves a deep dive.

I didn’t listen to any Beatles albums before this project. At this point, I have considered each new Beatles album I hear to be the best one I’ve heard. I liked this better than Sgt. Pepper’s, and Sgt. Pepper’s more than Hard Day’s Night. And I like each one leaps and bounds more than the previous. At this rate, Revolver will have to do my taxes or some shit to impress me.

Another one that I wouldn’t have sought on my own, and isn’t quite my cuppa, but I’m glad to have heard it. I will always be more receptive to niche genres and interesting misfires than competent-but-complacent albums on this list.

Bowie has some high heights, and he has Low, but I’d say this is pretty mid.

I get what the hype. There were a couple of top-notch songs in there. But the second half dragged something awful.

A couple of instant classics for me- songs that I know will go into my regular rotation. Rest of the album was powerful and moody. Loved it

So I really liked everything about this album. I don’t know if this list gave me some kind of Stockholm about Neil Young or what, but I didn’t mind his voice at all, either. Short and sweet. I don’t have anything to criticize.

This is entirely fine. I it is very of its era, and that’s not a bad thing, but I don’t think that, for me, it quite rises above the glut of similar bands of that time.

I think I only knew two of these songs. But holy hell do they kick ass. This is two hours- and I don’t think it justifies its runtime, which is what gives it a 4 instead of 5- and there is a breadth of styles and they nail them all. Quite an impressive undertaking.

Neil Young can be great, but I think he’s very inconsistent. I gave the last album five stars, but this one a three. I think I’ve given him everything but a one-star. There wasn’t anything wrong with this album, per se, but I didn’t get into it.

There were some fine songs, but very unfocused and I wouldn’t glance twice at the stage of these guys were playing at a local bar. I’m not sure what about it earns its place on the list.

I loved this album and didn’t feel like it was nearly as long as it was. I love the vibes. Easy five star for me.

Perfectly serviceable.

KCK represent! Fortunately, this also just kicks ass on its own. I’m glad I got this on a Friday, because I was able to use the rest of the weekend to listen to the rest of her discography. I don’t know if anything else quite matches this, her debut album, but them’s the brakes sometimes.

Easy 5-star. Complex, somber. An amazing work and a powerful goodbye.

It was fine. It was very good background music.

So I’ve learned that I like the Bruce Springsteen Sound. I’ll be happy to get any of these songs on a shuffle, but there wasn’t anything about the album as a whole to elevate it.

I hated every part of this. That last song was like the band was punishing you for having been so foolish as to waste your time on their album.

I thought the Arctic Monkeys were one of those virtually interchangeable radio rock bands, but this was a fun album. Maybe my favorite post-2000s rock album yet given from the list.

Very enjoyable! I haven’t heard a Massive Attack song I disliked. Maybe no song in particular was a stand out for me, but I really liked the atmosphere it conjured.

I liked the whole thing. I’ve always liked Nick Cave’s vibe, but never dug too deep. This is more soulful than I’d have imagined.

I liked it, but I’m unlikely to revisit it.

This might be Rush at their leanest, most straight-ahead rock and roll. I love Rush at all stages of their career. Easy fiver for me.

It was fun, but for the most part it faded into the background for me.

I enjoyed nothing about this album. Even the songs that were good underneath all the garbage noise were, well, buried in garbage noise. Doesn’t deserve the slot. Good album artwork though.

I liked it well enough and suspect it should’ve gotten more of my attention than I was willing to spare.

I mean, it’s Michael Jackson, yeah?

I liked each individual song and believe I will be happily surprised by any of them coming on my Spotify random, but this album was two straight hours of bluegrass, which puts my lifetime total of bluegrass listening somewhere around two hours, and didn’t inspire me to seek out more bluegrass.

This is the kind of album I get excited about- it comes from a part of the world of which I am wholly unexposed, it is awesome, and also it reminded how much I like jazz. I wish we got more worldwide exposure on this list. I (probably) like the standard rock that makes it onto this list as much as the next guy, but I think this project is at its best when it is expanding horizons and forging bridges.

I liked the average song from this album less than I liked the average song from Automatic For the People, but I think that the best songs on this album are better than the best songs on Automatic For the People.

A lot of my favorite Beck songs are on this album, it turns out.

Coming into this album, the only song I’d heard was Sultans of Swing. Leaving this album, the only song I can remember is Sultans of Swing.

I appreciated that it was incentive, but nothing about it grabbed me.

I feel my review is unfair, and that I should try to review this album on its own merits instead of comparing it to others, but I just felt like this was a knock-off Soul Coughing.

I was just really not into this one. I acknowledge that they are very talented, but song after song about how sexily he wanted to sex her sex with his sex was wearying.

I didn’t like it as much as Blood on the Tracks, but I think I’m just overall a Dylan fan.

I really expected to like this more than I did. The only song I knew of his was Peace Love & Understanding, and I like this song. I just kind of kept forgetting that I was listening to this album, unfortunately.

I love this style of music. I could listen to this forever.

I don’t know anything about Samba but I enjoyed this a lot and would happily toss it on in the background.

Bad luck for the band that their stars got hitched to Durst. The music would consistently engage me, until Durst started singing. The band was good, the Durst was suck.

The stretch of songs that open the album on through Happiness is a Warm Gun might be the finest sequence of songs assembled. They even have banging weirdo shit like Revolution 9. I’m frankly amazed that The Beatles are the most hyped-up band of all time, and yet I’m still being blown away again and again.

I liked this one a lot. It’s quiet and atmospheric. I could probably put this on anywhere.

It’s thrash; one of those genres where you’re in, or you’re not. I’m in.