Beginning of his classic period, when the record company finally "turned Stevie loose" (in Smokey Robinson's words). A little uneven and sappy in places but Stevie's funk and creativity are on full display. Superstition and Sunshine of My Life are the big hits but Maybe Your Baby, Big Brother (first real social commentary foray) and I Believe are great songs as well. Imo, Innervisions, Fulfillingness' First Finale and Songs In the Key of Life are superior albums but anyone who enjoys the unmistakable Wonder groove will appreciate this one.
Very much an early-60's R&B girl band sound, most of these songs would fit right in on a Shirelles or Marvelettes album. Didn't know much about Dusty before this except for Son of a Preacher Man -- she has a great voice but the character that sets her apart comes out in the smokier, country numbers. Best song here imo is 24 Hours From Tulsa where that tone really comes through. Cool to learn more about her but I don't see myself firing this up except maybe as part of a 60's Motown mix.
Classic early stuff by the originators of teen-angst rock'n'roll. My Generation is the key track -- one of the all-time great anthems of rebellious youth -- but there are plenty of other quality songs here as well, like Legal Matter, Much Too Much and Kids Are Alright, as well as a couple of high energy old blues covers. A little raw and unpolished and not their finest work (except for My Generation) but infectious and a ton of fun.
Electrified Texas blues. ZZ Top has a very distinctive sound (couple of them actually as they reinvented themselves in the 80's) and this album is the best of the early stuff. Great beer-drinking party music but the style can get a little monotonous (except Waiting On The Bus/Jesus Just Left Chicago -- which is just solid blues as good anytime). Sprinkling a couple of the best cuts into a party playlist is the best way to enjoy them, imo.
Unvarnished 4/4 high-energy heavy metal. AC/DC is fairly criticized for not having much variety in their sound but there are a lot of great guitar licks and some clever lyrics. Away from the excellent title track, Girls Got Rhythm, Touch Too Much and If You Want Blood are solid songs. Not usually a big fan of metal bands but these guys are fun and this is close to as good as it gets.
60's psychedelic pop with a little bubble-gum mixed in. The Zombies are solid musicians and have an upbeat, radio-friendly sound but it's pretty dated. I doubt you could find many listeners who wouldn't be able to pick this out as being from the 60's even with never having heard the band before. I like the Zombies (She's Not There and Tell Her No are my favorite tracks) but except for Time Of The Season, This Will Be Our Year and Care Of Cell 44, this is background music.
Judas Priest has a classic British heavy metal sound (they were one of the originators of it, to be fair) -- they sound a bit like Black Sabbath on speed. Heavy, driving drumbeat with very fast, technical guitar licks. I give these guys credit for helping define the sound, and it has a lot of fans -- I'm just not one of them. The songs are repetitive without a ton of variety from track to track. I'll leave this one to the headbangers.
Love this record! Very eclectic mix of sounds across the different tracks -- mostly with a punk backbone but mixed in with funk, folk, jazz, etc. Very creative and high energy vibe that I could listen to for a long time without getting bored.
The White Stripes have a raw, stripped-down sound reminiscent of old-time garage bands, but their lyrics are clever and quirky and Jack White's guitar skills are outstanding. They take rock'n'roll down to it's most basic level with an infectious, high-energy sound. Really unique and entertaining, though better in small doses imo -- by the end of 14 songs I was getting just a bit tired of it.
Hip-hop for a broader audience, minimizing the violence and gangster focus of earlier offerings. Interesting and creative with scores of nods to earlier rock artists across multiple genres. I'm not a big hip-hop fan but this record opened my eyes to a segment of the genre I was unaware of and find pretty interesting -- though I will still be unlikely to listen to it regularly.
I love R.E.M. but am not a big fan of this album. With this effort the band moved further away from the innovative sound that made their reputation and inspired a whole new generation of alternative bands. This record is largely mainstream pop and, while it was much more commercially successful, to me it represents a step backwards. Go listen to Reckoning or Fables Of The Reconstruction.
Now we're talking! I don't need to say much about the Stones but this record is the first in one of the most incredible 4-album runs of any band in the rock'n'roll era (Let It Bleed, Sticky Fingers & Exile On Main Street are the others). Almost every tune here is fantastic, Sympathy For The Devil and Street Fighting Man are all time great rock anthems, Stray Cat Blues is as raunchy and funky as any song in their catalog, and No Expectations and Factory Girl explore the country vibe that suits Jagger's voice so well. A triumph of mixing different styles and rhythms with their signature blues sound to create a masterpiece that still stands up more than 50 years later.
The Wiki review uses the word "ethereal" to describe this album and that's pretty on point. The best way I can describe it is like music you'd expect to hear at a spa in the Outer Hebrides where psychedelic mushrooms are part of the treatments. It's relaxing and pretty up to a point, though it's not clear whether there are actual lyrics or the singer is just using her voice to create sound -- certainly I couldn't understand one single word on the whole album. It's difficult to even really think of the tracks as "songs"; I think "moods" would be a better word. It was interesting to be exposed to this record but I can't see myself listening to it again.
Old school country but of the upbeat variety. Dolly's voice is incredibly sweet and pure and that gives this record a very welcoming, comfortable feel --more of the "sunshine, picnic, enjoying the outdoors" country than the "dive bar, hard drinking, heartbreak" kind. I enjoyed this album, though I'm not a huge country fan, and could see a few of the songs making it on a playlist.
Pure 60's psychedelic rock, very reminiscent of The Dead during the same period. Quicksilver was one of the original jam bands and this record provides a quality view into that genre of music. I happen to like it a lot -- it's definitely not for everybody. Very creative and interesting improvisation from all the musicians (esp. the guitarist). In this regard it's closer to a jazz sensibility than traditional 3-minute rock songs. Hadn't heard this album before, though I knew about QMS -- it won't be in the regular rotation but it might be a change of pace occasionally
Excellent album from the Doors -- not their best perhaps but full of the thought-provoking lyrics and rollicking sound that made them famous. Roadhouse Blues and Peace Frog are the best known songs on this album, but Maggie McGill, The Spy and Ship of Fools are gems as well. I listened to a lot of the Doors growing up but they had fallen off my radar a bit. Time to get them back into the rotation.
Ghetto hip-hop with a theme of the adventures of a doctor. Lyrics are interesting, not too profane, but a lot of it is a word salad of medical and scientific terms without much real sense to them. Not in my wheelhouse, interesting to be exposed to it but I doubt this gets another play.
The Kinks have a distinctive voice -- upbeat pop-rock with clever lyrics filled largely with satire and social commentary. Ray Davies voice is very distinctive (some say that's a bad thing) but they're solid musicians and the melodies and styles have a good deal of variety. This album is no exception and while not the best Kinks record, it's entertaining. Sunny Afternoon is the killer track but Dead End Street and I'm Not Like Everybody else are top notch as well. It was fun to listen to the album for the first time since I didn't know a number of songs on it, but I didn't add any new favorites.
Electronic dance music from the 80's. Not my favorite genre but Duran Duran does it as well or better than anyone. Catchy hooks, driving beat and solid vocals (albeit with a highly engineered and precise sound) made them staples of that era -- justifiably so. The title track and Hungry Like The Wolf should be recognizable to anyone who was out of diapers at that time, but Save A Prayer, Hold Back The Rain and Lonely In Your Nightmare are decent songs as well. I won't listen to this record alone but if I'm out at a party or whatever, this stuff will keep the energy going.
Best of the AC/DC albums in my opinion. I know purists frown on anything after Bon Scott died but this record has everything the band is known for -- high energy, memorable hooks, great guitar licks and that driving beat. It crosses the boundary of heavy metal into mainstream rock and is one of the best selling albums of all time for a reason. A classic.
Didn't know much about the Yeah Yeah Yeahs before having this album pop up, but I like them. Very raw and hard edged -- they remind me of the White Stripes a bit -- a high-energy post-punk sound with some electronica thrown in. Definitely a very individual sound, the singer sounds a little like Chrissie Hynde but adds a lot of other vocal effects to her performances.
Definitely a band that tried to stretch the genre -- heavy metal mixed in places with hip hop, funk and synth-pop. It's jarring in places and the vocals don't help (though they're perfect in the War Pigs cover). Not quite sure what to make of this. At the end of the day I feel like they tried a lot of different combinations of styles; many didn't work and those that did were ultimately done better by someone else.
Wow -- this record was a revelation. I've certainly heard some little bits of it in a number of places (commercials for example) but never listened to any of it all the way through. It's similar to house music (which I generally hate) in some ways but much better -- great melodic hooks, funky beats, and an infectious energy that makes you want to dance. Love this album.
Didn't know a lot about Sonic Youth before but can see how they influenced a lot of the music that came after them. Very experimental, came out of a punk rock tradition and explored a lot of new ground -- different chord shapes and progressions, tempos and instrumentation. Unfortunately, sometimes the guys who break new ground aren't the ones who master it. I found this record uneven -- a couple of tunes started with cool hooks, but when good punk rock does that the songs are over in 2:30, while Sonic Youth stretches them out for 7 minutes. I liked the second half of the album better, especially Candle and the Wonder (though Teen Age Riot is a great track). Important record for sure, but I'll probably spend more time listening to the bands that listened to them than this one.
Everybody knows who ABBA is by now, 70's Euro-disco from Sweden. It's cotton candy -- kind of fun and sweet but without much substance to it. As long as you don't expect it to be more than it is, the simple (some might say insipid) upbeat energy is enjoyable for a while (not too long, lest you slip into a diabetic coma). Dancing Queen's fame notwithstanding, I think Fernando is the best song on this record.
I've heard The Cars called synth-pop, but they lead with the guitars. It's certainly pop, but very high-quality pop, very-well produced with lots of catchy riffs and interesting beats. The vocals, drums, guitars and keyboards all hang together and this album is just straight entertaining. They have mastered their craft and I'm never unhappy when one of these songs comes up on the radio or a playlist.
Growing up I always heard people talk about how creative and talented Frank Zappa was and I never got it. After listening to this album I still don't. Yes, they're good musicians and experiment with sounds and combinations that others haven't, but it just isn't very entertaining to listen to. The entire weird lyrics/kazoo/doo-wap thing just sounds like a it's meant to be a gag -- like a real-life Spinal Tap or a SNL skit. It's just annoying at the end of the day.
More hip-hop; I like the funk beats here -- they're better and more developed than most in the genre, though you still have to wade through the artists' endlessly chattering about how tough and cool and smart and sexy and... everything they are. Boring and cringey to be honest. The first part of the album was better than the second -- the title track was just some schoolboy's extended wet fantasy -- but I will probably never listen to this record again.
Debut from Tom Petty, classic American rock'n'roll from one of the best to do it. This record is a little uneven with some very forgettable tunes but boasts two monster tracks -- Breakdown and American Girl, the latter being one of the most recognizable songs from the entire decade of the 70's. Quality guitar and percussion work overlaid with Tom's unmistakable voice. I'm a big Tom Petty fan -- this album is not his finest work but it's solid and you can hear the first steps of a fantastic journey
Mellow, introspective album from Beck -- almost like he'd been listening to a lot of Ryan Adams before he wrote it. Cool melodies and well-written lyrics really evoke the sense of loss and heartbreak. I liked this record quite a bit -- it's very different from the Beck of Odelay -- but it's a little too relentlessly down tempo, which makes the songs kind of blend together. Lost Cause sticks out as a solid song but the rest of the record is more of one solid mood rather than individual tunes that are memorable on their own.
Great album by Bowie during his Ziggy Stardust phase. Fantastic energy, wailing guitars and funky beats over a range of song themes -- glam rock at it's rawest; no love songs here. Jean Genie is probably the most well-known track but Panic In Detroit is the best song on the album. Watch That Man, Cracked Actor, Time and his fantastic cover of the Stones' Let's Spend The Night Together are also high quality. I'm not a huge fan of the title track to be honest, but I love this record nonetheless.
LA hardcore punk at its most essential. This whole album ran for maybe 15 minutes with none of the songs lasting more than 1:30. These guys play their instruments hard and fast and do manage to incorporate some hooks into the basic melodies (though you have to pay attention or they're over). Snarling, angry lyrics about dissatisfaction with modern life and the hypocrisy of society. It's pretty unvarnished and you have to like the genre to enjoy this -- it's definitely not for everybody. I do like punk but this is a little too much thrashing even for me.
Hard to classify -- sort of easy listening pop. I had never heard Sufjan Stevens before and didn't know what to expect. Very pretty, soothing sound with a lot of strings and choral arrangements, giving it a Broadway musical feel. I liked a couple of the songs (Jacksonville in particular) but the melodies and tone were pretty consistent throughout with the lyrics mostly differentiating the songs. OK -- not going to be a regular listen.
Unholy alliance between hip-hop and electronic house music (both genres I do not like). This is the first album I found unlistenable -- it was like repetitive fingernails scraping across a chalkboard. After 4 tracks I sampled a couple more to make sure nothing changed and closed it down.
Soft rock highlighted by Buckley's excellent vocals. I had been unfamiliar with him (except for his cover of Hallelujah) but he has impressive range both dynamically and emotionally. I liked this record quite a bit -- it reminded me of Radiohead with less instrumental intensity. The title track, Lover You Should've Come Over and Eternal Life are all high quality songs and this album has deservedly, though belatedly, received recognition.
Absolute classic by one of the best to ever do it. The Mighty Guys absolutely tear it up; all four members at the height of their powers. If you had to play an alien one song to explain what rock’n’roll is, you could do far worse than Whole Lotta Love. Ramble On is one of my all-time favorites. I could mention every song on this classic.
Psychedelic blues/rock from the late 60's. Cream was at the forefront of the psychedelic movement and this album (their second) is probably the best example of their music. They produced a big sound with only 3 members -- Clapton was incredibly creative with not only blues riffs and solos but also effects, while Baker on drums and Bruce on vocals/bass were almost as impactful. Sunshine Of Your Love was their biggest hit from this record, but Strange Brew and Tales Of Brave Ulysses are also outstanding. Several lesser known tracks are also solid, experimenting with different voices out of their blues roots. Truly a classic album.
Hard to classify the Meat Puppets -- some elements of punk, country, psychedelia to different degrees depending on the track. Super creative, innovative sound -- vocals and instrumentals were adequate but the songwriting really takes the lead here. Prairie, Aurora Borealis (and the reprise, Aura Borealis) and Lake of Fire (covered famously by Nirvana) are my favorite tracks, but I could listen to this album multiple times.
60's psychedelic rock by perhaps the most innovative and talented rock guitarist ever. Seminal album by Jimi and his underrated Experience members on bass and drums. This record changed rock music; changed what people thought they could do with a guitar. Excellent collection of songs -- Jimi's guitar prowess overshadowed solid songwriting skills -- with R&B roots colored by psychedelia. Purple Haze, Hey Joe, The Wind Cries Mary, Foxey Lady, Fire, Are You Experienced are all staples of the era, while Manic Depression, I Don't Live Today and Third Stone From The Sun (the trippiest song on the album) are also fantastic. One of the greatest albums of the 60's.
Straight rap from the start of the century. Eminem is a very clever lyricist, using rhyme and rhythm to tell his stories as well as anyone who does it. I can appreciate and even enjoy parts of it (I like The Real Slim Shady) but I'm not really a fan of the genre and Eminem's just so damn angry all the time. That vibe just doesn't work for me and I don't see myself listening to this album again.
Contemporary pop. Adele has a magnificent voice and sings the power ballads as well as anyone. Her songs come from her own personal experience so the emotions she conveys are honest and genuine, making her compositions very powerful. As an album, however, it's a little monotonic with all the lyrics and subject matter very similar. It's far less ambitious and exploratory than it might be -- Adele takes no risks here -- and so it can't get full marks in my book.
Singer-songwriter piano music with orchestral arrangements. Never heard of this guy before -- he has a rich, dark voice (comparisons to Neil Diamond in other reviews are on point) and clearly has songwriting chops. The lyrics are complex and mostly sad -- dealing with seedy events and unhappy people -- while his songs are more mood pieces than melodic. I don't think I could hum even a part of one tune after listening to the whole thing. The whole feel of the record was more musical theater than pop. I have some respect for this effort in an academic way but I didn't really enjoy it and wouldn't listen to it again.
Contemporary romantic pop. Coldplay has been fabulously successful with catchy melodies, easy listening guitars and keyboards, and Chris Martin's baritone warbling plaintively about how deeply in love he is. The tunes are solid and entertaining -- Yellow is the best known here and my favorite, but Sparks and Trouble are good as well -- but the sound as a whole is too fluffy and round to get anyone really excited. It's well-crafted pop with no pretensions to be anything more and as such can't aspire to top marks.
80's heavy metal. Van Halen gets lumped, perhaps fairly, with the other 80's hair metal bands but they are on another level than the Poison's of the world. Eddie Van Halen's virtuosity and creativity on the guitar and a certain pop sensibility allows Van Halen to create songs (not all of them) that still play well decades later -- such as Jump & Panama from this record. They are still hard rock but talented enough to cross over to other audiences and be the standard to which other hair bands always aspire to (and fail).
Early 70's hard rock. The Stooges were not great musicians or songwriters and did not enjoy much commercial success. They were dirty, gritty, foul-mouthed and out-of-bounds at a time when peace, love and psychedelics ruled. What they did have was an unfiltered visceral energy that transcended their relatively humble skills (Ron Asheton was a pretty good guitarist). They just rocked. It's hard to imagine any early members of the punk or grunge movements who wasn't influenced by The Stooges and their leader, Iggy Pop. Fun House is the best of their three albums -- loud, edgy and driving with some real creative sounds. Down On The Street, Loose and TV Eye (which might boast the meanest guitar intro... well, ever) are staples of counter culture rock while the rest of the album contains some cool, almost free jazz like, extended jams. You may not like this record but it changed things.
Modern alternative rock. Kings of Leon started as a hard, almost punk, garage rock band and with this record evolved into a heavily produced, mainstream act. Faint traces of their Southern rock roots still persist but their sound is now polished guitars and drums supporting the excellent vocals. Caleb has a raw, wrenching tone to his voice that infuses their songs with a ton of emotion and draws the listener in. The songwriting is pretty simple but effective -- Sex On Fire and Use Somebody are the big hits but the album is pretty consistently good up and down. Good but not great. I liked the early stuff from them better -- this is more a product of the industry machine.
Afrobeat from one of the pioneers. I knew a little about Fela Kuti but had never listened to a whole album. This was a really good find -- exactly the point of the whole 1001 Albums concept. I loved the rhythms and the horns -- you could feel the energy in the venue (which is often my criticism of live records). The lyrics and vocals were more in line with the rhythm than any kind of melody and were largely unintelligible. This was a really fun record, though I thought the individual tracks dragged on a bit -- I would have preferred three more at two-thirds the length -- so that dinged my rating a touch.
Rap metal. Second album on this list I couldn't finish listening to. I actually had a higher opinion of Kid Rock before playing this record than I do now. I'm not a big fan of rap metal anyway but this is hot garbage from a total poser. Crappy rhymes and generic music that just serve to grate on my nerves. Only halfway decent song is Cowboy (at least of the first 8 tracks before I gave up).
70's reggae from the king of the genre. An early album with the whole Wailers crew before Tosh and others went to do their own thing. Very high quality musicianship across the board -- the guitars, rhythm section and harmonies are all super tight -- every number is interesting with just the right amount of ska beat. Stir It Up and (to a lesser extent) Concrete Jungle are the highlight tracks on this record but it's top notch all the way through. Every track has that feel-good rhythm, even when the lyrics are addressing serious issues (which is often). High Tide or Low Tide, 400 Years, Stop That Train, Kinky Reggae are all excellent. Not the best known Marley songs but absolutely worth listening to... repeatedly.
90's alternative rock. Beck jumps around a variety of genres here, notably hip-hop and grunge, but restrained, melodic versions of them. I liked this album after really only having heard Where It's At before. The music is catchy with clever lyrics and the scope of the record is nothing if not ambitious and experimental. Definitely an album you can get more from with successive listens. Best tracks are Where It's At, Devil's Haircut, Lord Only Knows and Sissyneck.
British glampop. I'd never heard of this band before. Other reviewers compared them variously to Bowie and the Smiths -- some of the tunes sound a little like Ziggy Stardust era Bowie, but as a pale knock-off with nowhere near the same edge and energy. The Smiths is a better comparison but again, without taking that sound anywhere new. The songs are well crafted, played and produced (The Drowners was my favorite) and this record was reasonably entertaining. Despite that, I feel like it's one of the worst choices for this list I've heard yet -- worse than several albums I didn't enjoy listening to as much. There was nothing special or innovative here -- if you like 90's britpop you'll like this record but it sounds like lots of other stuff from the genre. It's definitely NOT a record you need to hear before you die.
90's alternative rock. I knew nothing about PJ Harvey before today and I liked what I heard -- this is what the 1001 Albums thing is about. Edgy, energetic rock overlaying a singer-songwriter vibe. This record had lots of songs featuring well-crafted lyrics with interesting and nonstandard chord structures. The musicians were on point though none of them blew me away with virtuosity and the entire record kept my interest. Dress and Victory were my favorite tracks but all of them were solid, as well as being individual and differentiated. All in all, good stuff and a cool addition to my rotation.
70's psychedelia. I know Dr. John and like a lot of his music but the only song from this album I had ever heard before was "Walk On Guilded Splinters", which I always found a little creepy -- little did I know it was easily the most normal song on this record. The entire album had a bad acid trip vibe that was hard to really get into. Guilded Splinters and Mama Roux are the best songs here, a lot of the others sounded mostly like voodoo chants. Not really my thing and not representative of other Dr. John stuff.
Jazz fusion. Herbie Hancock is one of the seminal figures in 20th century jazz, having played with almost all the greats at one time or another. This record is another of his many attempts to fuse different styles, adding a heavy dose of funk to the jazz instrumentation. The quality of the musicianship is never in doubt with Hancock, and it isn't here. I only knew Watermelon Man before listening to this record but Chameleon is my favorite track here. It's all very chill and fun to listen to.
70's singer-songwriter. I'd never heard of Laura Nyro before but I'm quite familiar with a few of the songs on this album via cover versions (esp. Eli's Coming and Stoned Soul Picnic). As a songwriter she's excellent, with a wide variety of themes and interesting melodies -- I especially like some of the creative tempo and rhythm choices. As a performer she's indifferent and very inconsistent across songs. Sometimes she sounds very nice (like a somewhat harder rocking Carole King) but in too many instances her voice either gets too nasal and whiny, or screechy. I love the songs but she can't reliably carry them off so I won't spend time listening to these versions of them again.
Thrash metal. Megadeth can certainly play their instruments at a high level, though I always think of this kind of music as "virtuosity for its own sake"(similar to some segments of modern jazz). There's no question the guitar and drum playing are technically very difficult but to what end? The lyrics and melodies are primitive at best, played extra loud with screaming vocals over the top -- I don't enjoy listening to it though I can acknowledge the skill required to produce it.
Traditional Cuban music. I didn't see the movie and hadn't heard the album, though many of the songs had a familiar sound. Excellent musicianship, especially the piano and the horns, and a very comfortable vibe. My favorite songs (Chan-Chan and Candelas) made you want to get up and dance. I loved the record, though it fits a very definite type of mood, and I'll be listening to it again.
80's new wave pop. I knew about the Go-Go's and have heard this album before. It's pretty well-crafted pop - solid up-tempo beat, catchy melodies, traditional pop themes. I like their sound and applaud them for being a self-directed all-girl band in a rock'n'roll world dominated by men, but I don't think they stand out from the general pop background for any other reason.
Classic rock. One of my favorite albums -- I've listened to Wish You Were Here more times than I can count and I'm sure I'll listen to it many more times to come. One of the greatest rock bands ever at the height of their powers. Fantastic from start to finish -- lyrics alternating between cutting sarcasm and melancholy remembrance as they explore the business of being a rock star and what it does to their bandmates. The musicianship is outstanding, as are the production values with different tones and sound effects amplifying the moods of the different tracks.
American songbook jazz. Miss Ella Fitzgerald was a national treasure. Her tone is so pure and rich and her phrasing so phenomenal that she can elevate any song. The Gershwin songbook is classic (though I'm partial to Richard Rogers myself) and this record is a wonderful example of the entire genre.
60's classic/psychedelic rock. One of the greatest, some consider it THE greatest, albums of the rock era. Maybe I'm just old but I feel that people consistently underestimate how far the Beatles moved the goalposts with this record. The amount of money and creative energy spent chasing them after this dropped is astonishing. Every song has a unique vibe, with different themes and instrumentation -- up tempo rockers like the title track and Lovely Rita, trippy experimentations like Lucy In The Sky With Diamonds and Fixing A Hole, introspective thematic tunes like Getting Better and She's Leaving Home, and then A Day In The Life covering all the bases. All of them impeccably crafted, played, sung and produced. A masterpiece, 5 star sine qua non.
Classic rock. I know the title track, of course, and I'm a fan of a lot of Neil's music but I can't listen to this album on Spotify so it gets marked down a bunch out of irritation with Neil for his reactionary, anti-streaming BS.
British rock. I know this album well and like it. Oasis has a big, guitar-driven sound supporting quality tenor vocals. Their songs are not complex or groundbreaking but they are catchy and well-produced. Wonderwall is the big hit here, followed by Champagne Supernova -- Don't Look Back In Anger and the title track are also quality tunes. In their heyday people compared them to the Beatles but the only dimension that even remotely holds up is in records sold.
Alternative rock. The Talking Heads are one of my favorite bands and I already know all their music. This is a curious choice for this list, imo, since there are at least 4 Heads albums I like better. The Talking Heads have a very unique sound -- driving beat, edgy and almost frenzied guitar riffs, David Byrne's quirky vocals -- and this record is immediately recognizable as their work. Take Me To The River was the big hit single but The Big Country, Thank You For Sending Me an Angel & I'm Not In Love are all excellent. This album doesn't seem like a big step forward from Talking Heads '77 except for the more advanced and complex rhythms. Still, it showcases the cutting social commentary lyrics and innovative sound palette the band is justifiably famous for.
Smooth jazz. Sade has had a number of reasonably big singles but I've never listened to one of her albums. She has a breathy, lower-register voice that fits this style of music very well but I find the genre generally kind of boring. It's over-polished and a bit lounge-y (if that's a word) and more suited for LITE-FM or background music at a spa than the type of jazz I like. Yes, the songs have complex beats and quality sax playing but there's not the kind of creativity around chord structures and phrasing you find from top[ jazz artists. Smooth Operator is the best tune of a very bland bunch.
Hard rock. I'd never heard of Living Colour before so it's an interesting addition. The music is solid (esp. the guitar playing) but I don't hear a lot that differentiates it from most of the stuff that came out around the same time, except for the lyrics. The song themes and lyrics are definitely interesting with a heavy dose of social commentary and those elevate this band above a lot of their peers.
Punk rock. Likely considered THE classic punk album, Never Mind The Bollocks is the essence of the original movement. The instrument playing is average at best (Steve Jones on guitar is probably the best of them) but the anger and frustration that comes through their songs is electric. Great energy, unapologetic lyrics and the sneering vocals of Johnny Rotten make the Sex Pistols classics even to this day.
Alternative rock. The Lemonheads have an interesting mix of punk and pop sensibilities -- I knew a couple of their songs but had never listened to an entire album. Musicianship is solid but not elite, the vocals are better than that with a really clear, warm tone and good phrasing. Songwriting is excellent with lots of interesting chord structures, themes and lyrics. The title track is easily the best song on the album (though their almost-punk cover of Mrs. Robinson was the biggest hit) but Rockin Stroll, My Drug Buddy & Hannah and Gabi are all good as well. Glad I got a chance to delve deeper into this band's catalog.
Classic rock. Rod Stewart is an iconic rock vocalist whose funky, sexy rasp is instantly recognizable. Gasoline Alley is a collection of song vehicles for his voice -- mostly covers -- and they do a fine job of showcasing it. The musicians around him are very good but it's clear what the focus is. Gasoline Alley, Cut Across Shorty and You're My Girl are the best of the bunch.
Rap-soul fusion. I'd heard of this album but as I'm not a fan of rap I'd never listened to it. I liked it more than I expected to. The Motown vibe underneath the rap is very smooth (also incorporating some reggae overtones in places) and fits very well. The themes and the lyrics are genuine and honest -- avoiding the braggadocio and aggression that characterizes much of the genre. If I had one negative comment, it's that the lyrics get repetitive at times. Lauryn Hill has an excellent voice but indulges in more runs than needed -- a virtuosity for it's own sake criticism I make on many jazz and heavy metal records as well.
Blues based rock. ZZ Top is another band with a distinctive blues/boogie sound -- one they pretty much perfected in the early 70's. Eliminator still has that backbone but with a much more heavily produced, synthesizer-fueled vibe that I like less. Sharp Dressed Man is the best tune on the album, but there are no songs of the caliber of La Grange or Heard It On The X here.
Jazz-pop fusion. I had heard a couple of the songs on this album before but never the entire thing. Amy Winehouse is an incredible vocalist -- one of my favorite singers of the last 40 years. Her pitch and control are perfect, her tone is pure and unique with a blend of brashness and vulnerability, and phrasing and timing are truly original and swing seamlessly between jazz and hip-hop. She turns just about any song into an experience. This collection of tunes is good but not outstanding -- it almost doesn't matter. Stronger Than Me is probably the best of them; Know You Now and Fuck Me Pumps and also excellent.
Classic rock. Excellent album by Bruce Springsteen (though not in my top 3) with some classic songs. Bruce is a phenomenal songwriter and his raspy voice conveys the heartache and longing central to his lyrics perfectly. His band is excellent and his music occupies a special place in the classic rock canon. Badlands, Candy's Room, Promised Land, Prove It All Night and the title track are all excellent.
EDM. I generally hate EDM -- beats are half-decent here so it doesn't get the lowest rating but I still couldn't even get halfway through before my head started pounding.
80's Alternative Rock. I've heard of these guys but never sat down and listened to them. Very heavy distortion and reverb gives them an eerie, disconnected sound (this record anyway), with decent but basic pop tunes underneath. They remind me a little of Joy Division though less angsty. Didn't enjoy this enough to add it to the rotation but it was creative and different.
80's alternative. I knew of Sonic Youth but hadn't explored their catalog. You can clearly hear the punk rock roots but they experiment heavily with different chord structures and instrumentation. Very creative stuff but you have to be in a certain frame of mine to appreciate it.
Classic Rock. What else to say about one of the greatest, most impactful debut albums in rock history? The Mighty Guys with some of their finest work.
60's folk. Simon and Garfunkel are well-known to just about everybody -- I knew most of the songs on this album already. Simon's a genius as a songwriter and this is some of his finest early work.
Rap. Ice Cube is much better than most with clever, well-crafted lyrics instead of the tiresome bombast of much of the genre. I still don't like rap.
70's hard rock. One of the classic first albums pioneering heavy metal. Every song is excellent, with outstanding musicianship and vocals. Over 50 years old and still stands the test of time.
90's R&B. Very creative melding of a number of different genres. I'm not a rap fan but this was interesting, good lyrics, great beat and solid melodies, if somewhat repetitive. Liked it much better than I thought I would though it's not going into the regular rotation.
80's speed metal. Metallica are probably the best of the second wave of metal bands. It's rare that I'm in the mood for that high energy stuff -- not usually a metal fan. Today was not one of those days.
Prog pop/rock. I love XTC and have since "Traffic Light Rock" but can't listen to this on Spotify so it's hard to judge. Found a couple of the tracks from this album on YouTube and seems much more orchestral than earlier stuff.
The Talking Heads are one of my favorite bands, curious as to why I've gotten '77 and More Songs About Buildings and Food instead of Fear of Music and Remain In Light but whatever. Quirky, upbeat and edgy with some really creative and unique lyrics. Favorite tracks are Psycho Killer, Pulled Up, No Compassion & Don't Worry About the Government.
90's pop. I didn't really know this band though I knew the song "Lovefool". Solid musicianship elevates this record over the vast majority of the genre, but it's still a little too cotton candy for me to really enjoy. Lovefool, unsurprisingly, is the best song on the record and I don't see myself listening to the other ones again.
70's soul. Temptations slipping more into soul/funk from their pure Motown roots -- they can still sing with the best but the tracks here aren't fantastic (with the exception of the seminal Papa Was A Rolling Stone). High marks for the overall sound less a little for mostly mediocre songwriting.
One of my favorite Dylan records -- solid all the way through
Better than most rap -- clever rhymes, solid beat, real themes without the braggadocio which characterizes too much of the genre.
Couldn't get through this record. Totally dark and depressing without any discernable hooks -- just negative energy lyrics. It's like these guys were trying to be Joy Division without the energy or talent.
Solid White Stripes offering -- top notch instrumentalism backing Jack White's high pitched voice singing their quirky lyrics. Bunch of good tunes on this one, highlighted by Blue Orchid, My Doorbell, Take Take Take, and I'm Lonely.
CCR in the middle of their white-hot four year run. Classic rock'n'roll paying undisguised homage to its blues and rockabilly roots. Lookin' Out My Back Door, Travelin' Band, Up Around The Bend, Run Through The Jungle, Who'll Stop The Rain are all great original tracks along with fantastic covers of Grapevine, My Baby Left Me and Before You Accuse Me.
