1001 Albums Summary

Smash that highest rating! What's not to love? Yes some of the drum sounds are a little dated now, but they defined the times. "Let's Go Crazy" is an awesomely powerful starter. Many listens before accurately understanding the lyrics in places. "Take Me With U" - drums and synths fanfare before settling into mid-tempo love song with prominent female co-vocal. Fades out before.... "The Beautiful Ones" synth and electronic drums build before falsetto vocal that goes dramatically over-the-top (you can picture him on wailing on stage). Fades out with soaring guitar. "Computer Blue" feels like an lewd interlude in the stage act. Inextricable association with the choreography in to the movie. Also feels patched together from different tunes, like a prog rock suite. This leads into.... "Darling Nikki" great story in the lyrics, experimental studio sounds underlying a raging vocal and guitar. "When Doves Cry" - tour de force. Insert anecdote about chart-topping pop song without a bass line (recorded but removed from the mix). Intense but stark track cuts to.... "I Would Die 4 U" First of the "suite" recorded live in 1983 at Minneapolis' First Avenue club (scene of the film as well). Beautiful classic example of Prince's sound circa '83-84: electronic drums, female backing vocals, warm synths. Short single-friendly track that on the original LP drives into.... "Baby I'm a Star" The second of the live suite. Big drum count-in, polyphonic synths and party-like voices yield to high-energy track. Radio-like fade out and a quiet pause before... "Purple Rain" Wendy Melvoin's now-iconic chorused solo guitar starts the mood before the echo-dripping drum machine and Prince's emotional vocals bring in the Purple Rain. Classic ballad shape as the accompaniment builds, and we float out on the extended brilliant guitar solo, also recorded live at Minneapolis' First Avenue club.

Very mediocre record, even if you can see what she's trying for. Producer's impact: more creative effort spent in the pre-choruses than the verses, across the album. Overall impression - music for people to sing along with who aren't confident singers. Much of the album sounds like you're hearing a neighbor play it through the wall. "Green Light" - sophomoric lyrics over a driving track that hints at freedom "Sober" - intriguing lyrics, but the soft parts of the soft-loud-soft pattern are boring and predictable across her albums "Homemade dynamite" - low effort lyrics, "dance" beat that doesn't ever open up. Breathy vocals and soft peaks like kids who want to dance in the basement but Dad won't let them turn up the stereo. This is supposed to depict the excitement of a new crush? "The Louvre" a not very exciting track about the excitement of an early relationship. A dance track that has as much dance energy as a La Croix has fruit juice. "Liability" - downtempo piano ballad but the vocal cadences are identical to her upbeat stuff. How are we supposed to feel any different invested emotion? Heartfelt and well-written lyrics. Sub-3-minute interval, needs more time to develop and occupy some space between faster tempo songs. "Hard Feelings/Loveless" Hard Feeling section is only vaguely interesting musically while the lyrics are HS diary poetry. Loveless section seems a callback to earlier Lorde pirated Fruity Loops beats, which is a nice way to paint what seems to be callback story time. Otherwise a section devoid of impact, either musical or emotional. "Sober II (Melodrama)" whatever emotional/story impact the lyrics deserve are completely lost by a generic low-everything instrumental track. Considering it's the title track, as it were, that's unfortunate. "Writer in the Dark" - A far more effective piano ballad - she actually belts out some parts. It's not all speak-singing. "Supercut" Upbeat but still feeling held-back. Good lyrics. Shouldn't have had to wait this long into the album for all the cylinders to fire. "Liability (Reprise)" mournful lyrics with appropriately mournful accompaniment. Should have been the final track on the album, esp as a reprise. Or merge the two "Liability" tracks, which addresses the shortcomings of the first one. "Perfect Places" Good track, shame it's at the end. Compelling instrumental, insightful lyrics.

Released when I was early in HS, this has been a part of my soundtrack since. Glad for the chance to listen to it with fresh ears. Overall it holds up as an example of the merging of punk and pop that would become guitar-based new wave (no synths). Some poor decisions (budget? recording tech? vinyl limits?) in how to make the guitars sound. They are robbed of what must have been tremendous power seen live. "Precious" hits the ground running. Chrissie sets the tone for her vocals and persona: "But not me, baby, I'm too precious, I had to fuck off..." The 3 guitars and drums attack is perfect of its time, but the studio effects are gratuitous and distract. The guitar is phased, treated, and hints at what Andy Summers was doing, but holds back too much to be effective. "The Phone Call" starts with a callback to Blondie's "Hanging on the Telephone" of the previous year. The words spill out faster than the melody can take them, but the song doesn't really go anywhere otherwise. Waste of a great riff, perhaps. "Up the Neck" is a morning-after song (with imagery that Lorde can only dream of writing) that moves from sensual enjoyment to regret. She stays a bit detached throughout: "I remember the way he groaned/ And moved with an animal skill / I rubbed my face in the sweat that ran down his chest/It was all very run of the mill" Underwhelming guitar solo. "Tattooed Love Boys" upbeat bo-diddly track with showy drums and restrained guitars. Chrissie speak-sings a tough story that both appreciates and criticizes the tattooed Boyd (and herself for getting involved). A ripping solo that's undercut by poor recording/production. "Space Invader" unexpected instrumental, reminds me of Adam and the Ants - fat bass over tribal drums. The arcade game of the same name was huge then, and its effects make an appearance at the fadeout. Not one of Chrissie's tunes. "The Wait" Another driving drums with a ripping but over-limited guitar riff. Sneering, fast-paced vocal full of bruises and hurt. "Stop Your Sobbing" has always been a polarizing song among my friends group. Some love it, some despise it. The true test is whether it's because they liked the Kinks' original. Chrissie does a lovely reverb-drenched vocal over and homage to 60s 12-string guitars (Byrds, etc). Rare use of vocal harmonies on this album. "Kid" Beautifully emotional vocal delivery accompanied by surf-guitar lead line. More a 60s guitar pop track than a punk-inflected rock song. Guitar solo switches from surf to jangle-pop. Rhythm track is very Phil Spector girl group. Looks forward to influencing REM, Smiths "Private Life" Reggae accompaniment for Chrissie's calmly dismissive vocals. More rare background vocals. Joins the pile of UK punks adopting reggae. Eclipsed for me by Grace Jones' cover of it the same year. However I really like Chrissie's vocal. The length of the track (6+ mins) really allows the space for the track to develop. Her line with "emotional blackmail" reminds me of Elvis Costello's "Emotional Fascism" in Armed Forces from 1979. Languid yet scorching guitar solo, not often found in punk-does-reggae. "Brass in Pocket" Inescapable #1 single from this album. Iconic vocal/lyric which probably cast Chrissie's early confident persona in stone. The remaster reveals some nice rhythm guitar flourishes that didn't come across on the radio back then. "Lovers of Today" Basic ballad and an exercise in vibrato for Chrissie. Remaster means you can finally hear the drums (thanks Chris Thomas). Again, some nice guitar filigrees enriching the verses. Some of the chord changes are very MOR 70s guitar band. Strong shades of Neil Geraldo on Pat Benatar records. "Mystery Achievement" The only reason I'd leave the record on after Brass in Pocket." Extended drums and bass intro, layering in guitars before Chrissie vibratos her way in and then joins herself on backing vocals. Shimmering guitar solo that is over a type with the pop-punk of the times: Neil Geraldo, Sniffin' the Tears, Nick Lowe. The trade-off of guitar to drums over pounding bass must have made for a great extended section live.

Joni drives me crazy. Her lyrics are matchless. But I need more hooks in my pop/folk. The jazziness is welcome, but the melodies are mostly opaque. It's like a jazz cover of a standard that skips the melody and goes right to the improvisation. Cool, but bring the listener with you! A 4 overall, but a point deducted for the tunelessness of some tracks. I want to like it more, but I don't want to listen to it more. "Court and Spark" Sets the difficult tone: tasteful accompaniment immaculately recorded, but the melody is all over the place and it's hard to follow the words. "Help Me" THERE'S the melody with hooks to spare. And those chord changes! "Free Man in Paris" Another strong melody over a cool backing. Great chord changes - reminds me of some Grateful Dead jams "People's Parties" Unusual structure: just verses, no bridges or choruses. The words are just pouring out, without a strong melody to hold on to. "The Same Situation" Great lyrics but the vocal just noodles along. "Car on a Hill" A melody! A hook! The lyric tells a good story too. "Down to You" Back to noodling, but with a nice instrumental interlude in the middle. Winds up being just a novelty "Just Like This Train" Melodic, lovely backing vocals. "Raised on Robbery" Andrews Sisters-like intro vocals, with a rocker accompaniment. A melody! Sounds a bit like the kind of up-tempo track that James Taylor, Linda Ronstadt, Carole King, or Carly Simon were all doing at this time. "Trouble Child" An attempt at a catchy bass riff, but the vocal is all over the place again "Twisted" - a cover of a bop-era jazz vocal combo.

Once this broke, this was inescapable in the late 80s both on radio and MTV. The sub-genre in particular never moved me much, though there were a few standout tracks. I don't think I've listened through the album before. (I'm tickled by the fact that this was recorded at the studio owned by Captain and Tennille.) I'd not heard of the producer, Mike Clink, before. What I wasn't expecting to hear were such strong connections to their influences (60s, 70s 80s rock) and to what followed them (90s grunge). Worth the play through just to realize that! "Welcome to the Jungle" - A helluva start to a track, and to an album! Band firing on all cylinders, strong song structure, classic (now) riffs and solos. Axel peaking early in his career? "It's So Easy" Gated snares are everywhere in 1987. A dark tone to the vocal and accompaniment, maybe showing there's a smoother transition to 90s grunge. Some hints of Iggy Pop, Alice In Chains.... Axl at the low end of his range for most of it. "Nightrain" Generic radio-friendly hard rock, with a standout Slash solo. How many things can rhyme with Night Train (wine)? "Out ta Get Me" Screaming guitars! Big 80s drums! Shrieking Axl! If this is your jam, this is a great jam for you. For an album track, this is far from filler. They put it all out there. "Mr. Brownstone" Maybe the least languid song about heroin ever recorded. Jamming Thin Lizzy-like groove. Axl speak-singing the first verse until he slips into Steven Tyler-style rapid delivery. By this point in the album the move into crunchy rhythm under a Slash solo is expected and well executed, but not boring. 6. "Paradise City" I'm just gonna go full Stefan: this track has everything: big gated drums, dual guitar, Axl wailing, high-speed coda, and a little person with a clipboard at the door. It's such a smash of a song, even if it runs overlong. "My Michelle" An intro that reminds me of future grunge, before changing gears into a stutter-step rocker. Axl in fine form. "Think About You" Basically a Van Halen song with cowbell. "Sweet Child o' Mine" Pinch harmonics, get your pinch harmonics here! It's great intro that settles into a very strong song. In lesser hands these lyrics would be in a cheesy ballad, but they did a great job keeping it edgy rock. Iconic Slash solo, yet again (how many is that on this LP?). "You're Crazy" Now we're starting to blur the songs together. This has a rocking groove and wailing Axl, but it's not standing out by this point in the second side of the LP. Hot performance, but I'd probably use this time to hit the mens room at the club. "Anything Goes" Playing with rhythm changes makes this interesting at first, even if it ultimately starts sounding all the same again. "Rocket Queen"

My overall uniformed impression of Leonard Cohen had been that his songs are better when covered by others (his cameo on Was (Not Was) was fun though). That's not the case after a listening to this album. His voice is needed for these lyrics Like it says on the label - darker. Unrelentingly so. This one may be like Bowie’s “Blackstar” for me - incredibly powerful but hard to listen to repeatedly. It’s very beautiful musically. "You Want It Darker" Mood set: spooky, dark. Starts with a male choir of some sort, and then his croaking vocals. Tom Waits-like grooving accompaniment. Verses addressing God(?) at the end of his life. Hebrew “Hineni - Here I am, I am ready” chorus. Outro by a cantor. "Treaty" Solo piano intro, Leonard singing seemingly to both God and a partner. Arrangement supports but doesn’t distract from the powerful lyrics "On the Level" Piano arpeggios with gentle rhythm builds to a gospel feel "Leaving the Table" Slow country-bluesy twang guitar to lead in. Lyrics continue the theme of saying goodbye, ending conflicts “I’m leaving the table, I’m out of the game” "If I Didn't Have Your Love" Bluesy gospel (w/ organ) underpinning a dark poetic vision of a world without love. I’m already getting LC fatigue by this point in the LP. "Traveling Light" Mediterranean accompaniment (bouzouki?) of another farewell song "It Seemed the Better Way" Back to the spooky choir now with lyrics maybe about regretting someone he believed in? "Steer Your Way" Strange juxtaposition of Eastern European strings interposed with Appalachian fiddle. "String Reprise / Treaty" String quartet reprising the second song “Treaty” with a spoken outdo of an additional voice

Didn't know much about Japan before this came up. I'd heard a Sylvian collaboration with Eno, but that's all. Post-listen reading says they'd started as a glam rock Roxy Music clone, but that seems behind them here, and I don't hear a strong Bryan Ferry likeness that others do. Instead it's impossible not to hear Simon LeBon, and learn that Japan were eclipsed by Duran Duran fairly soon. "Quiet Life" - First track has New Romantics all over it, ahead of the "movement" "Fall in Love with Me" Simon Le Bon meets Gary Numan synths "Despair" slowing things down for a piano/drum machine ballad en Francais! Guitar/e-bow soars overhead, Bowie/Roxy-esque sax joins in. Between Berlin-era Bowie and Ultravox. Pretty, but unexceptional. "In Vogue" Sylvian sings in a closet over an unexciting backing track "Halloween" Either it's a thematic decision or they're reusing lines from previous tracks. Again this could be a Duran Duran basement tape. Vocals still muffled. The bloom, is off this rose by now. I'm almost disinterested in listening to the rest of the LP. "All Tomorrow's Parties" - Velvet Underground cover, vocals still buried in the mix. The synths and guitars do a fun job of updating the sound of the classic track. "Alien" This one starts a little different, at least. A bass and percussion drone before things pep up with the rhythm guitar and keys. Vocals still buried. "The Other Side of Life" Yawn. Just yawn. Cut to the run-out groove, please.

An enjoyable listen. I don't appreciate bop enough to really drill into the details of this album, but I'm glad I listened to it.

review notes lost to browser restart :( This is a perennial favorite for many reasons. 5.

The soundtrack to my freshman year in HS. The light/dark acoustic/electric split of the album is such a brilliant concept. "Powderfinger" remains my favorite song of his.

This came out my senior year in HS, and I've seen this in a lot of friends' collection, but don't know it well/at all. Let's see how some synth-pop sounds now. "I've Been Waitin' for Tomorrow (All of My Life)" initially left me cold, but warmed up slightly as it progressed. Very much the sounds of the time - drum machines and synths of the early 80s. Bleak, bleak lyrics over a dance beat. Low replayability. "This Is the Day" A warmer instrumental accompaniment than the previous track, and lyrics that actually speak to me, oddly. I think I've heard this before, but didn't know who it was. Wikipedia says it's been used in a bunch of soundtracks, probably why it's familiar. Wix from McCartney's band on accordion! High replayability. "The Sinking Feeling" Again a warmer instrumental than the opener. Very 1983 dance music, but Jesus the lyrics are so angsty and bleak. "Uncertain Smile" If this isn't on the soundtrack to a John Hughes flick, I'll be very surprised. Oddly romantic lyrics. Excellent Jools Holland piano solo. High replayability. "The Twilight Hour" Bongos? pizzicato synths as it builds. Vocals like Iggy Pop or Ian Curtis over very wordy lyrics. Works well! Low skipability. "Soul Mining" More angst over slowly pulsing moody synths. Tempo picks up 3/4 way into it. If you're after this mood, it works, otherwise it's pretty dull musically. "Giant" Chill vamp, nicely ties together the album. Good track to close it out. Good replayability.

1991 - probably my deepest exposure to hip-hop, thanks to living in downtown Oakland CA. At the same time, I was also listening to bunch of acid jazz, which shares a lot of source underpinnings with A Tribe Called Quest. It's really hard to just sit and listen to this without diving into sample sources! 1. "Excursions" 2. "Buggin' Out" 3. "Rap Promoter" 4. "Butter" Pretty sparse accompaniment on the verses, then the jazzy horns come in to dress up the repetitive chorus. Verses comparing hisHS love life with the now. 5. "Verses from the Abstract" (featuring Vinia Mojica and Ron Carter) 6. "Show Business" (featuring Diamond D, Lord Jamar and Sadat X) 7. "Vibes and Stuff" 8. "The Infamous Date Rape" 9. "Check the Rhime" 10. "Everything Is Fair" 11. "Jazz (We've Got)" 12. "Skypager" 13. "What?" 14. "Scenario" (featuring Busta Rhymes, Charlie Brown and Dinco D)

Enjoyable 80s crossover pop.

Pure early 90s grunge, with melodic (if plodding) vocals over thick (if plodding) guitars. In its time, it was a standout. Now it doesn't really stand out. Vocals way down in the mix. Eh, it's a choice.

Straight outta Amen, Brother samples..... We've come a long way from "I like hot butter on my breakfast toast..."

Spotify uses the original US edition track order, per wikipedia

Starts with a presumably biographical skit - chronological music under dialog “People are getting robbed and shot!” “I’m robbing and shooting people!”

I prefer Octopus to this album. This one is quirky but unsatisfying.

Definitely an acquired taste, and I have to be in the mood for this album but I do love it. For me a lot of the credit goes to Hooky's bass lines. It would be stronger were Transmission included, but I can only dream.

The most fun was to learn playing rhythm guitar.

Pretty ground breaking in its day but doesn’t really appeal to me after one listen. Now it sounds like every piece of soundtrack instrumental under a 60/70s street movie.

Lands squarely in the rock n roll/country genre, with a lot of elements we also hear in Elvis: backing vocal harmonies, etc. Very gentle. I hear the influences on later bands like the Beatles, Byrds, and the whole country-rock movement of the late 60s and 70s.

There are reasons to appreciate Courtney Love: as a woman in rock, as someone who went through the wringer, etc. But her music is not one of them.

This isn't as bad as I remember it from earlier attempts to listen to The Band. I can definitely see why it's an important album from the perspective of the development of country-rock in the late 60s and 70s. I can see how it was a very different vibe from what else was going on with rock in 1969. But I don't have to like it. I get Richard-Manuel-fatigue right away in each song he sings. I HATE the sloppy rhythms of "The Night They Drove Old Dixie Down." Garth Hudson's organ and piano are generally fun on any track, however.

Listening to you, I get the music Gazing at you, I get the heat Following you, I climb the mountain I get excitement at your feet Right behind you, I see the millions On you, I see the glory From you, I get opinions From you, I get the story Listening to a remastered version with my ears in is a revelation. I know all the songs but to hear it so clearly, to heard previously buried parts of the accompaniment brings me to tears.

Unrelentingly bleak. On the cusp between guitar post-punk and electronics. I have to be in the mood but when I am this is excellent.

Just lovely. Vocals emerging from soundscapes, lyrics almost intelligible. Escapes the late-80s production sound that I didn't like about some earlier efforts (and that so many bands suffered from).

Garage band/pub rock masquerading as punk. Good stuff!

Good basic Aussie punk/garage. The only real reason this seems notable is that they were very early on the scene as a punk band.

Not my thing at all but well-executed.

When I’m in the mood, I’ll return to this.

Phenomenal lyrics and vocal performance. The classic country accompaniments are not my preferred jam, but are very listenable nonetheless, and don't get in Loretta's way.

Very sixties, in a good way. Reminds me of some Moody Blues, some Jefferson Airplane. While I don't know the album, some tracks must have appeared on soundtracks, as they're familiar. Carol Kaye and Hal Blaine make appearances! Very listenable.

Perfection, from the arrangements to Ella’s vocals.

Has replay value. Need to remember to try out the running order change, where you group by writer/singer.

Beep beep.

I like it more than Thriller.

Would have been a much stronger single album.

Pleasant enough but not very compelling. The concept is cool, but that doesn't make it great.

Not a fan of Win's voice. Music is interesting, but replay attraction is low.

As with Dylan, I prefer covers of Waits songs to the originals.

Innocuous enough lounge music. Saved it for future listening. Is its inclusion on the 1001 list just due to representing the genre?

The Bay Area's Michael Franti in his project prior to forming Spearhead. Title track unavailable via streaming - sample clearances?

If what you want to hear is late 60s/early 70s blue-eyed blues, this is it.

Perfection.

blecch

Lovely. I prefer Songs in the Key of life but this is pretty great too.

psychedelic, man....

Forward artistic development with some banging tracks.

A good representation of JLL. He's not my thing but it confirms the influence he had on a bunch of people later.

If I liked contemporary hip-hop, I'd like this.

I can always listen to this.

Beautifully produced classic vocal disco.

Utterly brilliant.

Some potentially interesting music, but his voice is too annoying to make another trip.

This would be a better record if it were an instrumental.

Nick Drake tribute band.

In the same bucket with Strokes, Hives, etc. Good mid 2000s guitar rock.

Better than I remember. Less wankery more tuneful than much of their later stuff.

Helpful to separate the art from the artist. This is a fabulous record made by some terrible people.

Just gorgeous and genre-defining. A big part of my mid-2000s.

Well executed but I'm not at all into the words.

Just gorgeous. I stumbled upon it a few years ago, and it's been in heavy rotation since.

A lifelong “old friend” album. So much here.

meh. very repetitve beats

Classic and very influential, despite its own obvious derivativeness. (is that a word?)

Classic and very influential, despite its own obvious derivativeness. (is that a word?)

Great songs but I can’t stand his voice.

Fun basic punk. One chord and the truth!

Important, not enjoyable.

If I were 22, stoned and at the Fillmore, this would be divine. As I'm not, it's just an artifact.

A classic through and through.

Very old-school rap, high energy with equal brashness and humor. Minimal instrumentals, mostly just beats and voices. And how do you forget “Walk This Way?”

The Bakersfield Sound - certainly preferable to the string and sequins of Nashville in the '60s. I keep waiting for the sound of beer bottles hitting the chicken wire...

Great voice, gentle songs.

Love the title track (the hit), but the rest is typical of the times. A bunch of covers padding an album just to have an album. Must have been good background music at parties but it’s just uninspired now. Hopefully we’ll come back to them for the far more interesting McLenore Avenue project.

I am a such a fan of his first string of albums but this was just boring, even with the Attractions backing him. None of the songs grabbed me, and his vibrato was annoying.

Lazy music. And not as in lazy chill out mood. Lazy as in little effort.

The Box is better.

A voice like a broken wine glass. Or whine glass. Piercing and grating and over-acted.

I like Indian music, but these covers are more muzak than meditative.

I like a lot of his stuff. But not this one so much. He doesn’t feel committed to the sound du jour.

Pleasant but bland early 90s guitar pop. Part of the "alternative" bandwagon that didn't and doesn't command any particular attention. Only notable at all for the brief presence of Juliana Hatfield before she left and formed the The Juliana Hatfield Three.

Just awful. Some attempts at post-punk/pre New Romantics sounds but shitty vocals and unreproducible melodies. Listening to this a waste of whatever time you have left on Earth.

Basic 70s guitar rock.

Should have recruited a vocalist.

Conceptually interesting but not compelling.

Quite a time capsule. Hard rock with a late-60s sense of boogie, some prog, and of course wailing vocals and guitars. You can hear the influences and hear the impact upon later artists.

If you like country, you like this. I don't.

Useless, much like its namesake knot.

Not my favorite of theirs.

Unfocused but beautiful

Boom chackalacka boom chackalacka

I understand its significance, but I just don't enjoy listening to it. I was along for the ride up until In a Silent Way, and then Miles left me in his dust.....

ick. nu metal sucks.

Pleasant femme pop, though some of the covers are a little cheesy. Overall something I'd play for a backyard BBQ.

Not special enough for this list. Adequate guitar pop-rock but unexceptional.

Tiresome after a couple of tracks

Second tier Britpop. A couple of catchy hits doesn’t seem compelling enough for this list.

I acknowledge its importance and love Ray’s voice and piano. But I hate the strings.

Better than I expected. Some nice builds and sustains

I was in middle school when this came out. I played Sir Duke’s trumpet part in a talent show. This album has always been a part of my life. I probably listen to it monthly. Looking at Wikipedia for a list of albums released in 1976, there may only be a handful that I revisit like this one, and this is in my top 3.

Doesn’t belong in the list. Ray of Light would have been a better choice as It was adventurous and more of a radical step for her than “Music” was.

Not my bag, baby.

Good execution of something I don’t value at all.

Joyful noise!

Immaculate folk-rock production, obviously of its time (1967), reminiscent of Simon and Garfunkel, Mamas and Papas, or Harry Nilsson orchestration. Psychedelic waltz! Songs OK, very earnest vocals. Likely only heard these days on movie soundtracks. Some Dylan or Byrds touches, though these guys are peers of the Byrds. Second half gets a little overblown. I kept expecting Ballad of a Green Beret to show up.

Back in the day, this apparently made quite the buzz as a country-rock hybrid, but I don't hear anything other than country, musically. Some of the lyrics are topical but is that where the rock is? I don't get it.

Initially interesting, then repetitive, then boring.

Love a couple of the radio hits but the rest is dull 70s guitar rock with an awful Stones cover.

It’s ok. Not my thing.

My single favorite EJ LP.

This came out when I had a CD changer When this album came out, I had a five CD changer that had a spiral mode: you could put in discs and it would play the first track from each desk the second track from each desk, etc. So I put in the Rolling Stones “Exile On Main Street”, and this CD and listened in spiral mode. It was very cool to hear her response to each Stones track throughout the whole album.

Not my thing. At all.

Nah.

Like with Streisand and a few others, I love her voice, for about three songs. Then it becomes tiresome.

If it doesn't click after hearing it many times over the years, it's never gonna

90s Radiohead tribute act. But with annoying vocals.

One of those whose significance exceeds the musical content.

I’m a sucker for power pop and this one was huge for bringing women-led bands to the charts (along with others for sure)

Beyond the hits, these are real songs that just happen to use that smooth CHIC sound.

One of those (again) that’s historically/culturally notable but not terribly interesting musically.

Dull, dated.

Not a fan of Bob’s voice, and for the most part the arrangements aren’t interesting enough to make up for it, but dammit if I didn’t like this album by the end.

Just awful. No wonder they needed the makeup and costume gimmicks to try to attract listeners.

Remind me of the Kinks, very English. Not a lot of replayability value but good to have heard. Like it says on the cover of the book!

It surprised me at how good this turned out to be, even if it coasted toward the end. Very catchy tunes.

Early Queen meets T-Rex meets Rocky Horror. Likely an influence on Kate Bush, Gaga, Chappell Roan Music for theater kids

Too much filler. This should’ve been an EP.

Thanks for the inclusivity! It’s nice to know that mediocre electronica can be found beyond the shore of Britain.

Great voice, but needs better songs and better arrangements

Inventive music, cool lyrics, can’t get past the voice.

Not my favorite Stones LP but I am very fond of it.

Decent early arena rock. Some great instrumental sections. Not a lot of replay value for me.

Not more fucking Britpop.....

I’ve never liked his voice but the songs here are so so good.

Fabulous. Makes me want to invite over Kramer and Newman to make sausages in the kitchen

Fun in sections but goes on way too long.

Heaven is Eno ambient instrumentals. Hell is Eno vocals.

This was new to me and I am so glad to hear it!

Once again I am asking for your support in rereleasing all the Smiths albums as instrumentals. I never want to hear Morrissey’s voice.

Garaon’s piano takes this album to the next level.

Surf-horror, just like it says on the label.

Just an incredible selection of songs. Sure, it’s no Beggar’s Banquet nor Exile, but still the work of an amazing band in their prime.

Her voice is phenomenal. The production is horribly dated, but back then it sounded (temporarily) fresh. More than just the one or two hits, there are quite a few great songs here.

Not my thing. At all.

She’s cool but the production on this is SO dated.

This is the only album of theirs, except the first one, that I’ve listened to all the way through. Maybe it was cool back then when a bunch of white SoCal guys did blues, but now it just seems derivative and dull. Stick to the greatest hits, listeners, this one’s not worth it.

I like the beats, the rap does nothing for me.

I liked this stuff when I was fifteen. Now I hear it as soulless wankery.

Solid hard rock. Some self-indulgence, but that’s expected.

Incredibly generic 90s guitar rock. Makes "Live Through This" seem visionary. I respect her journey, but not this album.

Winwood was huge in the 80s when I first heard this, so I apparently favored his tracks over Dave Mason’s. Re-listening today, I prefer Mason’s well-written songs. Winwood’s are scattershot sixties stuff.

Tom Yorke vocal vibes - produced by Nigel Godrich, maybe that’s why. Not very interesting otherwise.