This album is a gem. It's perhaps one of the most influencial indus albums, and it's well diserve. It has an insane combination of agressive rhythms, layers of noise, melodies and experimentation. I love the very dense and cold sound of the record. Not my favourite NIN, but a 5 nonetheless!

Not my jam. There are interesting bits of R'n'B in it, the background music is pretty OK, but R'n'B is really a genre I struggle to enjoy. I don't hate it, but I really don't like it either.

That was painful. I feel like I spent an hour drowning in a field of marshmallows with unicorns farting rainbows all around me and believe it or not, but farting unicorns sound exactly like Mariah Carey does on this record.

For years I was a bit surprised to hear many people from a variety of (rock and metal) subgenres citing REM as a reference, as I knew them mostly for their big hits. Then I started to dig a bit, and was amazed by what I heard. Document is a good example of why people revere REM. It's well written, it's coherent, it's 5 stars rock with a nice twist, Stripe voice is great, and we can hear their influence in many bands to come (hard to come with a more proto-grunge song than Strange for example). I love the way they chose stripped down sound in the midst of the '80s craze for overblown sound. This is solid.

I knew them by name but I never really listen to them. Oh boy this is good! I loved their blend of pop and experimental music, it's quirky, it's weird, it's untertaining, it has really nice voice harmonies, there is a good work on textures and atmospheres, some tracks make me want to dance. That's the kind of albums that makes me stay on this journey. texture atmosphere voice harmonies quirky weird

Pretty solid blues rock from the late '60s. It's understandable how it became a classic, it's well-written and the melodies easily get stuck in your head. I love the guitar parts, full of licks (the blues influence is strong there), and how their create a discussion with the lead singer.

Great folk-pop album, great voice and great song-writting. It's too rare nowadays to have pop music with such meaningful lyrics. The stripped down songs are the best (hell, Behind the Wall shows that she doesn't need additional instruments), the others are a bit too overproduced (welcome to the '80s I guess).

Great album; stumbled across it almost 20 years ago and I'm still hooked in the first seconds. The composition and ambiance work on this album are noteworthy, it takes you to a journey with ups and downs, and I find the whole pretty coherent. There are obvious bangers (Stem/Long Stem for starters) and chiller parts that lean to trip-hop (and that the main clue that gives away the age of the record, you hear that you can smell the mid-'90s). The composition makes me think of progressive stuff I usually encounter in rock-related genres. And I can't imagine the work required to chisel such a record. Great work!

The mix of new wave and reggae is interesting, the bass guitar is omnipresent and very melodic; when the lead guitar is not playing dull reggae riffs it's actually interesting even though it sometimes a bit too low in the mix to my taste. The way Sting sings with Carribean-like inflexion is quite annoying, that's probably the worst part of their "white reggae" (with the cultural appropriation issue it draws; the title itself makes me uncomfortable). Whatever its flaws, it's clearly good quality pop music.

I'm much more into their studio years than their early pop-rock years, but it still freaking fun to listen to. And it's full of short, catchy songs full of energy, nothing longer than 3', 30' in total; nice and sweet album to listen to. The music itself is not (yet) revolutionary but it's damn good nonetheless -- and actually not so obvious either; the sound of Harrison's 12-strings Rickenbacker is already something. The songwritting is good, and the interaction between McCartney & Lennon is playing well, their voices layered and intertwined for a great result.

I was not familiar at all with Solomon Burke before (only heard one of his songs in the closing scene of one of the seasons of the Wire), and while it's not my jam, it spend a nice time listening to it. He has a great voice, and the music supporting his voice is pretty nice and keeps the promise of the title: a pretty nice blend of rock and soul. Some guitar parts are actually pretty good! The way chorus are used is also interesting, in particular how they create a dialogue in Won't You Give Him.

I'm not super familiar with the Smiths but it's good quality pop/post-punk/indie rock from the '80s. Morrissey can sing that's for sure (even though sometimes he is whining a bit too much), and Marr knows how to play even though there is no technical demonstrations (no solo, nothing particularly fancy but it's well written and interpreted and the melodies are all potential earworms). The production of the album is a bit too dated, you instantly know you're listening to an album from the '80s. All in all it's ok but not so memorable for me. And Morrissey is a racist prick now, it doesn't help

It's much more enjoyable than what I feared at first. Leonard Cohen was part of my musical environment when I was growing up, and I must say that his drawling voice, slow and quiet music made me indifferent when it was not boring me to death. But I'm more familiar with his later work, and it seems that his earlier work is much more appealing (basic folk with nothing more than his voice and guitar, no fancy arrangements) and his voice a bit more dynamic than when he was getting older (less crooner, more folk singer). I even enjoyed some of it; it's simple, stripped down folk, guitar and voice going well together. There is far too much mouth harp though, it ruins part of the songs that would have been much better without it (or with a simple drumming pattern, or anything else really).

Pretty nice and full energy big band album, mostly instrumental. The sound is clear, each instrument at its place and the solos are really good throughout the record. The kind of jazz that makes you in a good mood

This is pretty decent for a "The" band from the early '00s. The psychedelic side of the band is nice and they provide a good update of the genre. Singer voice is great, his inflections sometimes reminds me of Ryan Kattner of Man Man, and it definitely plays a role in the "sea shanty" feeling of some of the songs. When they mix their sound with ska/reggae, it's a bit more dull though (at least they don't sing with a fake Jamaican accent like Sting).

I was more familiar with the "Ill" records, but Paul's Boutique is another Beastie Boys masterpiece. The samples are particularly insane, once you start to pay attention to the music behind the voices. Their flow is still the same (and either you like it or you abhor it; I'm in the first category), the music is a bit more funky with less obvious "rock" part, really a good album. Although perhaps a tiny bit too long since it's very dense.

Knopfler is a great guitar player and it shows in Dire Straits debut album, very precise and bluesy. And he's good in a good way, meaning that he is not a neck-wanker, he lets the music breathes. The upbeat songs are the really nice, the rest of the album is a bit too chill for me and turns almost boring unfortunately. The production is maybe a bit too clean too

It's the first time I give a go to the full album; as everybody on the Western world I was forced to hear a bunch of tracks from this record, and I never like them. The rest of the album is no better. It's mellow overproduced pop-rock with plaintive vocals. I can get why it appeals to a large audience -- it is designed to -- but there is nothing close to interesting in their music. Some people told me that they were not yet full commercial shitty pop-rock at that time; I'm afraid of what they did after that if it's going down the hill from here: this is already a torture. I could have definitely die without this album. And I would gladly give 0 star if possible.

Kind of laid back punk; starting to listen to the record I was expecting something more pop oriented, but there are nice pieces of rock and punk in it. Some good guitar parts and the bass is really present, round and clear. The best songs are the fastest ones, the slower ones are more forgettable and the broken voice of the singer sounds better when he's not too drawling.

Efficient pop-punk album from the late '70s. Nice punkish guitar parts, efficient and "round" bass, good vocals. Hynde voice is great but a bit too present in the mix, and I have a preference for her singing when it's faster and harsher, more "punk". Actually applies to the album as a whole, tracks like The Wait are much better than more cheasier tracks. A bit too long for the genre, it could have been easily cut in half. Also because it sounds sometimes a bit schyzophrenic between the punk and pop sides of the album.

I remember listening to some Yes about 20 years ago, an acquaintance introducing them to me somehow. That was probably my first contact with prog and assimilated genres, and it probably opened my horizon to a whole new music territory. That being said, few years later I started to listen heavily to the Floyds (and prog metal, and post-rock, and...), and I realised now that I never came back to Yes. And listen to them again, I guess I see why. There are some efforts put in the way tracks are built, but they lack some coherence compared to the Floyds. They also lack some grit, sometimes it's a bit too dull. And perhaps the voice is far too present for the genre. It's good, don't get me wrong, but there are more interesting things, prog-wise, to listen to.

I did not know Hugh Masekela before. Glad I discovered this artist! Great jazz, very funky, not a bit boring: even the chill tracks have insane trumpet parts. First time I'm going to give 5 stars to an album I did not know before, and it's worth it!

I'm not a huge fan of Beck; it's kind of lay-back music is a bit too lay back for me... and in many cases he seems as bored as I could be will singing. Trying to get past this, the album is actually pretty good, the way songs are built with samples and instruments is nice and the most dynamic songs even caught me shaking my head. So yeah, still not a huge fan, but not that bad.

This is a strong album from Dinosaur Jr. displaying everything that makes their sound unique: the noisy guitars in which you can drown, that come in contrast with nonchalant vocals from J Mascis and his insane solos. These guys seems to be totally laid back but they're actually technically quite good, but with no show off, they're just doing it casually. More than 35 years later, it does not sound out-dated.

I was not really familiar with Mercury Rev, knew the name of the band but not much more than this. And that was actually pretty good! Their songs are at the crossroads between a precious indie rock, with post- or prog-rock leanings, well carved melodies and a hint of shoegazing. Sometimes sounds like an updated version of the Floyds. I'll probably give this another spin(s).

Kind of Beatles variant, but less obvious and/or pop. It still tastes strongly like the '60s. It's well and subtly orchestrated, with a little psychdelic twist. Pretty nice to listen to.

I was not familiar with her work before listening to this record. When she's leaning on the folk-side of the Force, it's really nice; but there is a more "pop" side of her work that I don't like as much. Great voice though.

Although I listen to a good load of heavy music and music with saturation, I've never been a huge fan of hard rock and/or heavy metal (especially NWOBHM and the likes), mostly because I can't keep up, it's too high power for me. I enjoy a song once in a while, but a whole record is hard to swallow for me. It exhausts me. So yeah, this is 5 stars hard rock, it's full of absolute classic and it's hard not to have feet taping in unison with the music, but it's too much. I'd rather listen to some good ol'punk: it's high energy all the same but in most cases they have the decency to keep under 30 min (hell, under 20 min even)

One good thing here is that it's refreshing to hear another language than English in the 1001 albums selections, the list being awfuly biased. I love Mano Negra and if they don't belong to the list, they should. It was really good alternative rock, and of course Chao was a key component of the band. I discovered them as a young teenager, and I was actually pretty disapointed by Chao change of sounds when Clandestino was released years after. Latino rythms are not really my cup of tea; it was nice when mixed with rock with Mano Negra but much less appealing to my ears deprieved of the rock side here. So, 20+ years later, I was reluctant to listen to this record (I was about to give it one star and be done with it), but it came as a nice surprise: I'm still not a huge fan of the latino side of the album, but it's diverse, the music is pretty simple but nicely arranged, and it has this kind of dicey quality that makes it interesting (and reminds me of this patchwork aspect of Mano Negra). It won't be in heavy rotation but giving a new listen to this record was actually not that bad and I can hear its qualities.

Interesting album, full of ideas and nice pieces. The album is maybe too full of... everything, but that's also what gives it its peculiar sound and appeal, its collage quality, sometimes it almost sounds as if listening to a sampling album, before samples became a thing.

This is a really strong hip hop album, a masterpiece of its kind, and that was important for the history of the genre. I own this record for years and that's an album I come back to from time to time. The flow is flawless, the beats are strong. But these beats are also slightly repetitive, that keep it from being perfect.

Hell of an album. Absolute classic.

The genre in which Beyoncé is evolving is really not my cup of tea, and I'm pretty disarmed to assess the quality of such an album. I gave it a try anyway and: (1) it's really not my jam, (2) I was surprised by the music that is not always some boring/simple rhythms, there are actually pieces of electronic music in the background that are not so obvious (and that makes it interesting), (3) I respect Beyoncé's fights and the way she uses mainstream music to push her agenda (she talks about feminism, racism, sexuality in ways that are not really customary in pop music). Not as bad as I feared, not my jam, but there are things to get out of it.

This is way too theatrical and orchestral, in a bad way. Maybe it's ironic? Anyway, it sounds pretentious and vain. And kinda boring.

I was not expecting a second Yes album so close to the last one, and I was not thrilled (I had a better memory of the band than what I heard a few days ago). But... this one is so much better. It has the grit and the epic side that was lacking to the Yes Album. There are jazz/technical parts, but they are not overwhelming. It's intense but they kept it short (below 40 min) which is also great to avoid an overdose. This is the kind of prog I like.

For years I was a bit surprised to hear many people from a variety of (rock and metal) subgenres citing REM as a reference, as I knew them mostly for their big hits. Then I started to dig a bit, and was amazed by what I heard. Document is a good example of why people revere REM. It's well written, it's coherent, it's 5 stars rock with a nice twist, Stripe voice is great, and we can hear their influence in many bands to come (hard to come with a more proto-grunge song than Strange for example). I love the way they chose stripped down sound in the midst of the '80s craze for overblown sound. This is solid.

It Takes a Nation... was a great album and is often praised as their most notable record, but Fear of a Black Planet is very strong too, perhaps even stronger. The political message is really strong, it has a more experimental music background, guitar parts that are great, and it does not suffer from the unnerving gimmicks from It Takes a Nation. This is the golden age of hip hop at its apex.

Martial drums, guttural voice, orchestral arrangement, industrial and noisy bits here and there. It is easy to hear how this could have been ground breaking and influencial when it came out. It is also easy to get tired of their commitment to totalitarian imagery that they could have tune down from time to time.

This is a pretty interesting album of carefully chiseled modern(-ish) folk with a baroque twist. The omnipresence of the harp is unusual but really nice, the orchestration is nice and not too overwhelming (i.e. it does not sound too cheesy), the voice is special, sometimes a bit on the edge, reminding me of Björk (with who she shares also a baroque/avant-garde liking). This album was recorded by Albini, which is also a seal of good quality!

Nice jazz with afro-caribbean bits in it. Not my favourite flavor of jazz, but stil pretty pleasant to listen to.

THAT is what I call a swansong. This album is close to perfect and shows well what Bowie could do, even close to the end. I like the fact that it is very jazzy, the electronic bits were less a novelty in his career but still enjoyable. I find the opening track a bit irritating though.

I remember when this came out, I remember the first time I listened to Rebellion (Lies), it really is a Proust madeleine. This kind of albums introduced me to a part of indie music I still love today. There is kind of too much of everything: too much instruments, too much people singing at the same time, mostly out of tune but it has its intrinsic quality. You can feel the collective listening to the album, and they tend to swap instruments from time to time which is also nice. It carries some nostalgia in the sound itself, even more so years after its release.

That was painful. I feel like I spent an hour drowning in a field of marshmallows with unicorns farting rainbows all around me and believe it or not, but farting unicorns sound exactly like Mariah Carey does on this record.

I knew them by name but I could not really remember anything I've listen from them. This is OK but not memorable, the album is far too long and lacks coherence. Which is also kind of its strength, exploring different paths in almost opposite directions. Some paths were worth taken, some much less. It's more a 2.5 for me but I'm in a good mood, let's round it to 3.

This is some solid blues rock here. Very enjoyable and entertaining. Nothing particularly ground-breaking, but nothing pompous or overblown. They're good but not particularly showing off, and they take their time to play.

It's funky, it's pretty laidback, it has some great tunes. The second side of the album is a bit duller and more R&B than the groovy funk on the first side; if it has consistently stayed on the first side direction, it could have won 5 stars.

I forgot it almost as quickly as I listened to it. I did not have the time to rate it right away, and now I'm having hard times saying anything about it. I vaguely remember that some songs were entertaining, some others bored me. Sorry Tom Petty.

It smells like the 60s, it has this simple and enjoyable taste of a time when everything seemed brighter and simpler. It's not a masterpiece but it's genuine, and I'd be actually quite happy if today's pop has this sort of qualities. On top of that, it seems that the guy stayed true to himself through the years.

I knew them by name but I never really listen to them. Oh boy this is good! I loved their blend of pop and experimental music, it's quirky, it's weird, it's untertaining, it has really nice voice harmonies, there is a good work on textures and atmospheres, some tracks make me want to dance. That's the kind of albums that makes me stay on this journey. texture atmosphere voice harmonies quirky weird

I never heard about them before; this is a pretty solid rock folk album. Sandy Denny's voice is amazing, the music is pretty classic but there are nice surprises. In the middle of the album, the long and almost progressive version of A Sailor's Voice took me by surprise and is really good. I'm not too fond of the Dylan's covers though. amazing voice sailor's voice

It's not as bad as Reggatta de Blanc but it's quite uneven: Synchronicity I and II are pretty good, the known singles are also OK, Mother (so disliked by many) is actually more interesting from a musical point of view than many other songs on this album that are bland. A small half is OK, the rest is barely average.

When I was 18 to 20, I was going every saturday to music shops in my hometown, spending whole afternoons listening to music, and buying more or less random stuff, partly because I was eager to build my musical culture. Master of Puppets is one of these albums I knew about but never listen to, and that I decided to buy. I loved the stark, raw and stripped down sound (especially compared to what I was listening to at that time -- way too much symphonic metal). It's fast but not overly technical, it's kind of harsh but every track is actually pretty long and takes it time to develop. I did not listen to this album for quite some time and I still love it to the bone. I've never dug too much what they did afterward, but this album is gold.

That's close to perfect music when you don't intend to listen to music. So you'll also forget it as fast as the last tune ends. Also without checking the info on the album I would have bet that it was from the 70s (even the cover is misleading), and it really sounds like they did no effort to update this sound and make it more "modern" somehow (there's a good load of revivals where the sound from an era is used as an inspiration but with a modern twist). It would probably have more value if really from the 70s. It's not bad per se, but should it be among the 1001 albums I should listen before I die? Not sure.

Sorry, I'm still not a fan of Cohen. And with time flying by, it seems to me that he became a caricature of himself. His slow, drowling voice may be soothing to some, it is irritating to me. And I've never been a huge fan of slow music; there are very few exceptions, but Cohen is not of them. I still find it pretty boring.

Hell yeah! That's funny to have The Black Crowes and Sonic Youth almost in a row with two albums released the same year. One is boring and replaying over and over ideas that were already 20 years old, the other one is abrasive, creative, full of ideas, sometimes not exactly knowing where it is going but at least trying to go somewhere and not treading water. For the record, I listen to lots of stuff that were inspired by Sonic Youth, and even though I'm not overly familiar with their work, it feels like home because the way they make cry their instruments, full of noise and dissonance, is very familiar to me.

I like prog rock. I can appreciate funk. I love jazz. And yet, while mixing these genres, Steely Dan succeeded to make this album deeply blunt and boring.

Really good folk rock here. The title is well found though (in the litteral sense in French, rehash), as it is not particularly original. But nice to listen to.

Another major album from Sonic Youth! Once again, I'm not overly familiar with their work but it's a real pleasure to dig into their discography thanks to 10001albums. Daydream Nation is more raw than Goo, really abrasive, there is a punk urgency to their sound, but paradoxically they take their time to develop their songs. Noise is everywhere, they are always on the verge of sound chaos. And what an intro! Great album.

I knew them by name and now I know I would have been happy if it stayed that way. It's actually pretty boring to listen too. It's well arranged, they can sing, but I'm bored to death and it's far too mellow for me. I was about to rate it with 2 stars, but it was saved by the Chain that is rather entertaining, and by the end of the last track that builds nicely some tension.

Latino music in general is not really my cup of tea, and I'm apparently not a fan of mambo. The record is saved by a great brass section and some jazzy bits that are pretty nice.

Pretty good laid back hip hop. I like how samples are used, I love the rythm overall of the album that is an invitation to chill. And the production is also pretty good with a nice and round sound. The contrast compared to gangsta rap of the same period is striking.

I'm a bit taken aback by the production, it is said he did it by himself, and it shows (not in a good way), sometimes the sound is muddy, sometimes, instruments are too far away or too saturated (once again, not in a good way). It sometimes leans to kind of jamming sessions (and again, not in a good way). Note that I love DIY, I love saturation and improvisation, but it somehow succeeds in spoiling these. I also feel like it lacks coherence, going in different directions in a uncoordinated fashion. The country bits are a bit boring too. It's kind of frustrating because it seems to me that this album has potential, but wasted... and while listening to it I read about Van Morrison and I am even less inclined to give it a good rating.

This was interesting. I mostly know Eno for his ambient work, and this album is more diverse (exploring more different genres). It's interesting also to hear how much ahead he is of his time: bits of the album sound like post-punk when it was just emerging. What makes its strength (the diversity) is also sometimes a weakness, and even though the album is pretty short, some parts sound not as interesting to me. Actually it could be only side B and I would be very happy (OK, we'd need to swap Energy Fools the Magician and Here He Comes). Side A is a 2.5 for me, side B a good 5.

This is good quality pop. To me, it has the grit bands like Coldplay are lacking. Perhaps it's the vocals? The sound is globally not that clean; sure there are crystalline arpeggio but also its load of saturated guitars. The first half is pretty high enery, the second half is much more boring though.

This is good. So good! I love jazz, and this takes it to a new dimension. The rythm section is insane, and it really puts you in a sort of trance. It's hard to refrain to get up and dance listening to this record. Amazing

Can you die several times of boredom? I naively thought that you couldn't. Thank you for Clapton and friends to help me push the boundaries of the Unknown. OK, let's aknowledge the fact that Clapton gave here an almost Comprehensive Encyclopedia of Licks in only 75 minutes.

This is a pretty decent pop-rock album. It's kind of dated (some tracks more than others, You Learn is terrible from this point of view), it's clearly pop music, but it is saved by the intensity of Morissette's voice and grit. I love the angry Alanis, the mellow one not so much. Thankfully she's more angry than mellow!

I knew the name, but never cared to listen to them (too many things to listen to and it's already hard to catch up with new releases to lose too much time in oldies). I was expecting... more? better? They have a stellar reputation, I guess I can understand what makes them interesting when it came out but... Farell's voice is pretty annoying, Navarro is shredding too much for the genre, and it sometimes lacks coherence. The slower/quieter songs are better. This is OK, but far for memorable.

It's funny because I don't have a very good memory of Radiohead from this period. I'm a kid from the '90s so Creep is part of the background noise I grew up with and loved, but starting with Kid A, I felt like I was losing my balance, the music was off/odd, it was a bit too strange for me; more likely I was not yet ready for it. I listened to Kid A not so long ago and loved it and was surprised how easy it was to listen to and how great it was (compared to my old memories). I remember well when Hail to the Thief came out (partly because of the huge "fuck you!" they addressed to the music industry and greedy artists like Metallica, releasing the album for a "pay what you want" price) and I remember having a hard time wrapping my head around their music. And now, years later (and a reasonable number of strange music listen to in the mileage -- Igorrr, amiright?), I feel at home. It's a great album: it's diverse yet coherent, the electronic bits are well used and the other instruments still find their place in the mix, Thom Yorke voice is of course still great, it's kinda entertaining in its bizarre way.

This is what punk should always sounds like.

Great blend of blues and psychedelic rock. I mostly knew The Doors with a best-of I owned as a teenager, and I don't know so well their full records. It was pretty pleasant to listen to. The characteristic sound of the organ feels less present than in other of The Doors tracks I had in mind and it therefore sounds a bit less dated than other of their releases.

It's not exactly my cup of tea, but she has an incredible voice and the music is pleasant to listen to. Probably won't listen to it again willingly, but happy to have heard it at least once.

This is clearly dated (from the first note you know you're going to listen to an album from the '60s), this is well played, but a bit unoriginal and lacking coherence. It was not unpleasant, but not really memorable

What an album! It's full of rage, of energy, of melody. Listening to it almost 30 years after its released, it stands out as one of the best albums of the genre and the period.

Pretty decent '70s rock album, it has everything you could expect from an album from this time. Good listen overall.

Once again I knew the name and perhaps one or two songs but never listen to a whole album from him. This is a very good indie, lo-fi, guitar/voice album. All songs are carefuly carved, it feels like he's playing on the couch close to you. No fuss, nothing to fancy, but it works well. Sad and sometimes insanely beautiful.

Another solid album from Neil Young. I always like how he navigates between stripped down folk and more "high voltage" rock, even though the former is more present than the later. Southern Man is a banger!

The first part is boring second (or third) rate '60s psychedelic rock, but the long track on face B is worth listening. Would have been better with no singing though, just them jamming is pretty good. It's a 2.5 for me, could have been 3 thanks to She Comes in Colors but downgraded to 2 because of the singing on the same track (and the rest of the album that is far from really good).

That was... interesting. Almost felt like listening to medieval stuff; you can smell a certain fragance of folk from the '60s in this record. I like the stripped down aspect of the album, and most of the songs are not boring. The voice is great. The overall is a bit strange, but not uninteresting.

There are some great tunes on it (I mean, Kashmir!) but it's slightly too long and they may have kept it shorter for a more impactful record. Undisputable classic nonetheless

I'm generally not up for vocal jazz but this album is great, not dull a single second, impactful in its themes, and what a voice!

It's not bad but I found it pretty boring. I already knew the album as it was a big hit in France when it was released, and of course some of the titles were huge success. There are nice ideas in the record, there are entertaining bits, I understand what they did with the atmosphere, but it's not my jam, too chill for me. And perhaps it's me but it sounds pretty dated. Based on my own feelings, I'd put 2 stars, but objectively it deserves better.

Pretty annoying pop-rock trying to be innovative mixing different bits (in both sense) but failing to produce anything much interesting to listen to. Sometimes it's even painful when they take out brass instruments and mellow singing. There are few interesting parts, but not enough to grab my attention. And it's long and sometimes pompous.

The influence of the Gang and this album is undeniable, and well deserve. It's cold but fun in a twisted way. Some songs are so entertaining; I couldn't help but nod in rhythm while listening to the album.

Oof, that was great. So many great ideas put coherently together within only 30 minutes of music. I can see why it has to be on this list and the influence it might have had on generations of musicians. It's also actually the first time I listen to the original versions of Plateau, Oh Me and Lake of Fire; that was fun.

This is arguably hell of a record. Whatever U2 became, they were able, in the '80s, to release albums that were commercial success with really interesting music, ambiant sounds, a bit of experimentation, far from the easy and obvious stadium pop-rock other produced at the same time. After a few seconds I was already far, far away, taken back to old memories with this unforgettable riff. The album is a bit too long though and the second part of the album has less obvious hits than the first part.

This album is a total no-brainer to rate. Every single bit of this is great, even the less-known songs are amazing.

This hits hard. The flow is insane, even as a non-native speaker I can hear how well the lyrics are crafted, the background music is really good, with jazzy bits and is less annoying that the "blips" and "wheeez" of his older brothers from NYC.

I can appreciate Gaye's great voice even though the genre is not particularly my favourite and this kind of albums always sound a bit dated to me. The age particularly show in the arrangements; some songs have great background music to go with Gaye's voice, some others are a bit dull and boring with too many strings and mellow melodies. When the brass come or the rhythm kicks in, it's another story!

So the guy is a scum (a real one; for a very long time I just thought he was acting like one (as an agitator) but that he was a decent guy, as some interviews -- for example in Bowling for Columbine -- could let think) but the trilogy started with Antichrist is huge. Antichrist is not my favourite (I like the peculiar atmosphere of Mechanical Animals and I like even better Holy Woods) but it lays ground for the said trilogy. It has many bangers and despite the length of the album, it's pretty much an 'all killer, no filler' type of record. It hits hard with these rhythms so characteristic of industrial music, it has all these punkish riffs, and Manson's way of singing may be annoying but I kinda want to scream with him. I didn't listen to this for ages, and it takes me back to my teenage years, full of anger and despair and happy to find some relief in (what I found to be, at the time) dark, agressive music.

This is objectively a monument. And compared to other Dylan's albums I've listen to, there is not too much harmonica to spoil the songs.

The post-punk bits are nice but it kind of lacks the "dark side" of post-punk, it's sometimes a bit too sweat, as a '60s pop album. Interesting but not overwhelmingly good

I give it a second star because of gender-bending Boy George infuriating bigots. Apart from that, it's pretty dull '80s pop.

"A fish on a dish is that what you wish". OK, I think I really needed to listen this album to find at last my most profound need. Or perhaps it just shows how good 'shrooms were back in the day. There are also deep universal truths as "amoebas are very small". OK, enough laugh. The album is really dated, the usage of middle-eastern or asian instruments is really typical of this period. It has a characteristic folk sound, and that's not my favourite flavor of folk. The way the singer sings is also pretty annoying. It may have been influencial, but I found it pretty difficult to listen to.

I felt in love with Homogenic a long time ago, but I'm not very regular to follow Björk's work & career. But I'm generally happy to hear something from her: her universe is very distinctive and personal, and I like the way she intertwins her peculiar vocals with the music. Vunicura is a solid album, perhaps calmer than Homogenic but all the ingredients I like in her music are there. And it was refreshing to listen to her after a serie of pretty "meh" records... I even listen to it twice.

Pretty good album, perhaps their better, the music is strong, but I still don't know if I like or despite Corgan's voice.

This is a good blues album, played by a bunch of English white guys.

The album does not survive the first impression given by the magnificent intro, mixing shoegaze & trip-hop bits. It's not bad either, but I was hooked by these first 3 minutes and was let down too fast. I read that many compare them to Coldplay and I globally disagree: the music is better built, there's no gimmicks as putting keyboards everywhere and sad voices. There are regularly interesting bits (hints of shoegaze, sometimes lots of reverb on the voice, bits of electronic music). But it feels like it could have been better, more inventive, more thrilling that it is. 3 minutes after listening to the album I was excited, 30 minutes later I was nostalgic for all this album could have been.

Few songs are vaguely nice, the majority is simple boring pop-rock when it's not worse than that with archetypical american gimmicks. I would have die happy without listening to this record.

It's good britpop I guess? OK to listen too, but not really my cup of tea. For a band of the genre the music is not too pompous and stays pleasant but I won't go back to it.

The first half is really good pop-punk, high energy and entertaining. The second half is unfortunately much more boring sweet pop. The first half would have been a 4 or more, but the second half? meh.

This album is a gem. It's perhaps one of the most influencial indus albums, and it's well diserve. It has an insane combination of agressive rhythms, layers of noise, melodies and experimentation. I love the very dense and cold sound of the record. Not my favourite NIN, but a 5 nonetheless!

Although I like the early Dylan, this album that marks the transition to a more electric sound is really nice too. It's cleaverly added to the spine of the songs that still keep a folk base.

I was more familiar with their recent work and this was a good discovery. They were really more post-punk at the time, I also see a Siouxsie feeling in this album and it was overall nice to listen too. I prefer their most recent work (I love Purgatory/Paradise!) but this is first-class music anyway

This is a killer. Definitely cool, insanely good. The truth is, anything Davis did deserves 5 stars.

This is an honest blues rock album. On top of its musical qualities, it is not too long so it stays fresh and enjoyable.

I'm not a huge fan of reggae but this is clearly a good album. I love the raw sound; the lyrics are meaningful and impactful.

A good old Led Zeppelin classic. Better not to focus too much on the lyrics that are stupid at best, unsettling and disgusting at worst. Great riffing, great drumming, great bass lines, and well, Plant's vocals are what they are you know -- sometimes I find them powerful, sometimes irritating.

Decent glam rock. The first track is super entertaining, the rest is pretty OK. They sound as second knifes though; should I really listen to them before I die? Well now is too late to answer this question.

This is a much more enjoyable album to listen to than Aja that was pretencious, overblown and boring. It is however pretty innocuous, but I can well imagine drinking a cold beer or mojito on the beach with the sun setting in the background and a nice breeze from the ocean listening to this record.

I was ready to hate it at worst or be indifferent about it at best. I live in a tight enough music bubble that I never ever heard a song from her (or none that I could identify as being from her) and I was expecting way worst seing her popularity. And... I must say she's got a great voice (and pretty well-used) and the music backing her is decent. I can't say I'll listen to her again willingly, but it was not unpleasant.

This is when it starts to be really interesting. You can hear that they start to explore new ways, to experiment, and move from the nice but not so interesting (from a music point of view) sound of their first years. And it will get even more interesting than this from now on. Apart from that, WTF with the last song? Seems that Lennon regretted it afterwards, but still.

Another great jazz album discovered thanks to 1001albums. The story is amazing, the result even more so; this is truly a mindblowing example of chaos turned into art. I love how the circumstances turned something that would have been a (probably) great concert to an absolutely unique work of art. I've never heard of this album, least heard it. I'm glad I've done it now, and I know I'll come back to it.

I love the energy, and I love this kind of all-over-the-place sound, going in all directions at once, with instruments and sounds colliding to create music out of this seemingly random chaos.

I didn't listen to this in more than 20 years. I still know what to expect next at the end of each title, so I guess I listened to it quite a few times back in the day. So, I was happy to bring back memory, but re-listening to this album, it strucks me how repetitive it is. I have no issue with repetition — I generally love it — but when it's the music, not the lyrics. And it gets annoying. Apart from that, the music itself is diverse and there are not two similar tracks. An instrumental version of this album would deserve another star.

This is OK rock'n'roll, entertaining, a bit dated of course, hard to really evaluate the novelty with today's ears.

Nice funk album, very entertaining. Some songs are a bit too cheesy though, but that was overall nice to listen to.

I loved the intro, that made me expect something else... in the end I am not so disappointed, it's a decent alt/soft rock album. A bit too long though, and a few songs are a bit too cheesy to my taste.

South american/latino music is generally not my cup of tea. But even though, that was nice to listen to, especially thanks to the more up-beat songs.

I knew of course the hits of this album, but the other songs are pretty good too. It's dark and catchy, sufficently diversed to not be boring. It's a good 4.5 stars for me

Funny to have the daughter and two albums later her father. I'd no idea where the first track -- very famous -- came from. Once again, it's not really my cup of tea but the jazz bits make it pleasant to listen to anyway.

Oh yeah, this is a great album. Fun fact is my better half offered it to me mostly because of the cover (it's adapted from the very first detection of a pulsar, in '67, by Jocelyn Bell Burnell -- yeah, we're nerds). I vaguely knew them, and felt in love with their cold and yet dancing music. I love how overwhelming the bass sound is. Songs as New Dawn Fades are close to perfection.

I'm vaguely familiar with The Fall & Mark E Smith. I get why they are important, this album is nice but it's not my favourite flavor of post-punk.

I was almost going to give it 2 stars and then I read on Wikipedia that its success was linked to Radiohead going too far in their experimental side. Come on! That's an insult to intelligence.

Not my jam. There are interesting bits of R'n'B in it, the background music is pretty OK, but R'n'B is really a genre I struggle to enjoy. I don't hate it, but I really don't like it either.

Still not a fan of Cohen, but I heard this album so often when I was a kid... still, it has almost all the flaws I find in Cohen's music, but it has So Long Marianne, so it got an extra point. Also, I had to check but yes, the gothic band Sisters of Mercy are called like that as a reference to the Cohen's song.

A bit long, a bit overblown, but hey, isn't it a rock opera? Shouldn't it be too much by definition?

I had no idea where *this* song came from. I loved the fiddle on the first song, but then it turned quickly boring. There are maybe two or three songs that can be rescued and are not too bad, with nice brass section.

Halfway through the first song I'm already yawning. This is pretty boring and innocuous pop rock from the '70s. Apart from the fact that it was a hit in the US in the late '70s, I really don't see what's so good in this album that I should listen to it before I die.

I'm somehow much more familiar with Slayer and early Metallica than with Anthrax, that I always saw as second fiddle in the genre. Glad 1001albums changes this situation. I love Reign in Blood and Master of Puppets, and Among The Living deserves its rightful place at their side. Everything is really good: strong rhythm section, fast and precise guitar riffs, good singing (although I find it sometimes a bit too prominent). Really enjoyed this time Among the Living.

This is a bit sentimental as I listened to this album a lot when it came out, but of course it's a great record. It's very diverse, it shows all Albarn is capable of, it has 5 stars guests, it can go from son cubano to trip hop to abrasive rock. It's a mess, but a beautiful one. This introduced me to trip hop back in the day and seriously broaden my musical horizon.

Really groovy, feel good and fun. The music is flawless, nice guitar riffs, solid rhythm section, and great brass section!

I'm pretty sure I can recycle what I said for Exile: good blues album from a bunch of white guy.

I had no idea what I was going to listen to, but as soon as it started I recognized the voice of the iconic songs of Slumdog Millionaire. Her flow is precise and a bit agressive but I quite like it, the background music is pretty nice too, regularly evolving in electroclash territory.

Another (almost) rock opera from the Who. It's shorter (as the project was aborted) but apart from some nice highlights (synthesizer in the first track, the classic Behind Blue Eyes) it sounds a bit too much as (boring) classic rock.

This is really quiet, carefully chiseled folk. There are nice guitar parts, but it globally lacks of dynamics, for both the melodies and the voice. And I find the voice particularly dull, it lacks power, grit, something to make it more interesting.

This is great, very theatrical and solid, rock record. High quality compositions and a great voice. I was not so familiar with Meat Loaf before listening to this, and that was a pleasant listen.

Great voice. Not really into this kind of R'n'B. If You Think You Lonely Now is kinda creepy.

I love when artists release solo work that helps us realise that they actually not so interesting without the right people around them, whatever they think of themselves. Morrissey minus Marr? Meh. Oh, and last time I checked he was still a racist prick.

I know this album for a long time, as my older brother was listening to this in the middle of the '90s. I remember having mix feelings about Pixies because I found it too experimental and dissonant. Apart from Where Is My Mind, I did not listen for this entire album for more than 20 years. And guess what? In the meantime I've been listening to a shitload of noisy and dissonant music, so now I love it, of course. And all hail to Kim Deal, she's hell of a bass player and the vocal harmonies between her voice and Francis' are great.

It might be my favourite from the Doors: it has not the gimmicks of psychedelic rock of their beginnings (with too much organ), it's not bloated as their more orchestrated work (the Soft Parade), some songs are probably the most bluesy/stripped down tunes of their repertoire. And it ends with Riders on the Storm.

I never heard of them, I'm glad to listen to this record. It's really entertaining quality pop punk/post-punk. Good riffs, a bit of surf on top of it, good vocals (in the genre), strong vocal harmonies/backing vocals. At first I was going to give it a 4 and it actually gets better, there are stronger tunes in the middle of the album and even some darker melodies at some point.

It's easy to get why this album was so influencial with its samples, loops and collages. I can't imagine how it sounded when it was released; nowadays it's probably much easier to listen to such a record, since many other artists built their sound from it. It may be experimental, but it's pretty easy to listen to because there is always a strong structure and melodies (OK, more or less) present to not lose you.

Hell yeah this is a strong classic. Any albums having both Lust for Life AND The Passenger would qualify.

The trip hop bits are OK, it's nice to hear another language than English, but it lacks some coherence, sometimes it's a bit bloated, and sometimes it sounds too much as cheap R'n'B. Or worst, like Immigrant that sounds like a Disney musical. A bit more of coherence and a bit less of bad bits, it might have got 3 stars.

I knew they existed but never really paid attention to them. To be honest I thought they were a dub band (I mean, who put 'soundsystem' in their name apart from dub bands?). I actually find this kind of mix between electronica and rock entertaining. I wouldn't listen to it all day long, but it's fun. I'm not too fond of the voice that reminds me a bit too much of early '00 rock revival bands.

The guy is a scumbag, but that's more or less all I know from him, I've lost interest/lost track with mainstream hip hop a long time ago. Is it any good? I don't particularly like his flow (there is no particular edge, it's a bit too smooth/dull to my taste), the background music is not too bad but a bit bloated. We can clearly hear that lots of efforts were put in the production, but I'm not really convinced and it's hard to claim that is pure genius. It wasn't really bad overall, but not that good either.

I love this kind of ambient music, I love the sound of old synthesizers. I love how this kind of music is painting sound-/landscapes and to immerse myself in those.

This is good R&B/soul, well written, well interpreted, but it's a bit too long to my taste even though I can understand that if you're into the genre it's probably the best almost-2 hours you can spend. I'd put a 3.5 if I could, but let's round it to 4.

I generally love Simon & Garfunkel, but this album is a bit disappointing: very short and really too much fillers for such a short album. It is saved by its hits, but I was expecting better from them.

She did have a voice, but even if it was pretty powerful, I never really liked her inflexions, the timbre, something is off for me. Musically, I like jazz but I always prefer when it's instrumental. And when the beats start, to give the background jazz music a modern twist, I find it pretty annoying. I never really got all the fuss around Winehouse, and listening to this album did not convinced me that I am missing something.

Isn't it the worst out of the naughties? I really disliked this pseudo-garage rock revival at that time, and it didn't age well either. It sill a music performed by a bunch of poseurs who painfuly recycle old ideas while being nonchalant to pass for the coolest kids in town.

As almost everybody, I knew mostly the Bee Gees for their disco era and had no idea they had such a diverse career. So, this is a not so bad soft-rock album, sometimes very Beatle-esque. The fact that it is only ballads makes it a bit boring though, it lacks of dynamic and might have been better with punchier songs. Once again, I wonder however why this appears in this list. It might be a 2.5, but I rate it 2 because it has no real significance.

This is an honest alt-country/folk album. The story behind the album is nice, it is well interpreted, but I'm not really sensitive to this specific genre, it lacks edges, and I honestly find it a bit boring.

Decent indie rock from the early naughties. It has some dream-pop/shoegazy quality on some songs that makes it a bit more interesting that the average indie rock album from this period.

Funny thing is that I was convinced that Kill Me Softly was on this record. My mistake. Apart from that, that's a really good rap/R&B album with strong backup instrumental, nice collaborations and Hill's voice that is impressive. Although I really like her flow, so I wouldn't have complained with more rap and less melodic singing. The album is a bit long, and the interludes are a bit much.

Surprisingly enjoyable for a genre I don't really care about. Good interpretation, the laid-back songs are not boring, and there are some slightly more upbeat songs that are quite nice.

I did not know them before listening to the album. And I had to doublecheck the release date; it sounds more modern than when it was released! It's an interesting mix of post-punk/indie rock that prefigures what will come next in the decade. There are lots of good ideas, the songs are catchy and entertaining; that's a nice discovery.

It's a pretty chill rap album. It wouldn't be so memorable if wasn't for the fact that it was one of the albums playing a role to assess women rappers position in the mainstream.

OK it's not the easiest album to listen to, but the truth is it's an impressive album: despite the apparent chaos, it's far from a mess (actually you can't play at this speed and being messy, else it would only be a maelstrom), it's actually pretty diverse (all things considered), and you should definitely read the lyrics (yeah, I won't lie, it's hard to hear them). Face A and B are quite different (basically performed by different musicians) and I prefer the sound of the first side, but they're honestly both strong. And it's the right length to avoid to be bored. It's so refreshing, it's hard to think that this album is closed to 40 years old!

This album is insanely popular, but deserves it. All killers no fillers.

Iron Maiden always sounds a little bit too much to me; too much arpeggios, too much theatrical singing/screaming, too much galloping drums, and not enough room to breathe. But it's the accumulation of these that makes it too much, individually this album is full of great songs and it's without a doubt a classic in the genre.

When I was 14 we bet with some friends that 3 of us could tell 1000 jokes in 24h. We succeeded, but let me tell you than about 95% of the jokes were pure rubbish and mostly bad situational jokes. This album is the equivalent of this stupid 14 year old bet, done by a professional musician.

I knew them by name but never listened to their music. It reminds me of other indie acts from the late '90s/early '00s I like. I like the atmosphere of this kind of indie bands. It's simple but well carved compositions, not pretentious, just good music.

I'm not fully objective on this one since it's an important record for me, discovered at the beginning of my teenage years, that started to open me to rock, punk, metal. The truth is it's not a bad album, it's even a really good one in its own genre. And it is sufficiently diversed, with faster songs (most of them), some more down tempo, some almost surf (What happened to you?), some almost metal (the Smash riff). It's production is much rougher than what they did afterwards and I kinda like it better that way.

The guy could surely play the guitar, they discovered a synthesizer can make some music, and they wrote a huge hit. The rest is very dated and overhyped hard rock with the worst of its tropes.

An excellent debut album, maybe not as strong as the few others to be released in the decade, but still great.

In an alternate universe, a band from the '60s started to play joyful pop/rock, but they were on the other side of the Pond, took another animal as a band name, and never took an experimental turn making their music remotely interesting. I prefer to stay in my very own universe with our bugs.

So we had a high point with What's Going On? and now a pretty low point with this one. Nothing much to save on this record, it's dull and writing a WHOLE DAMN album on this subject?! If You Think You Lonely Now from Womack was already too much and painful to listen to, a whole album is yet another story.

The fact that this turns 50 this year is mind-boggling; they were ahead of their time and produced a really ground-braking record.

I love jazz, but I always struggle with jazz with singers. Don't get me wrong, Ella Fitzgerald has a great voice, but the music is serving her voice (which is totally understandable) but what I like the most in jazz is the music itself. Not as a background. And it also tends to be smoother than other subgenres, and I like my jazz with edges. So, it's OK but I'm not too fond of it. Also, it's way too long. A shorter version would have get probably 4 stars, but gosh, that was too much for me.

I never heard them before and this is hell of a record. The title track itself deserve a 5! It's full of funk, rock, experimentation, it's all over the place at some point, they don't hesitate to jam but without losing the listener. Great album, great discovery.

You can hear that they start to find the sound that define them so well and that will be mature with their next release, Violator. It's not as good as their sound is still a work in progress, but it's going in the right (and dark) direction.

Wow. I knew her by name mostly, but never really listened something from her. This is very powerful. Her voice is amazing, the music is simple but moving and goes perfectly with her singing. It somehow reminds me of Tori Amos (and now I guess I am aware of one of Amos' influences). Great discovery.

This is pretty OK; I like the atmosphere of the album, that is a mixture of joy (it's ska after all) and nostalgia/melancholy. It's pretty diverse too. But if I can see its qualities, I'm not really fond of the result and if the production is good, it sounds a bit dated nonetheless.

I lost count on the m*therfuckers and the gunshots. It might be the best of gangsta rap, but also somehow its worst.

It's interesting to hear the direction they started to take with this album, after a debut album that was more raw. Somehow about half the songs were a bit irritating to me, but some were real gems, even though the album seems to be pretty coherent.

White boys hip-hop. It's not bad actually, the music is a nice blend of rock and laid back jazz/funk. Not sure it is such an essential record though.

This kind of music feels like unicorns puking rainbows. It's funny and colourful at first sight, but it's always the same (a fuckin' rainbow!) and when you look into the details, it's pretty gross (I'm 99% sure they were all sexual harassers). And it's not even one of their most known records; it once again makes me wonder why we have this and some much more interesting/meaningful records are not here (I mean, apart from the fact the list was done by a group of old American white dudes).

I could almost copy/paste my review from their S/T. Knopfler: good guitarist. Overall: a bit boring. On top of that, the 80s production is really a pain.

Very enjoyable synth pop from the 80s. The bass slaps!

Everybody needs some accoustic punk!

I guess it's supposed to be something like their most mature album to date when it was released? All I can hear is that irritating crisp/bright guitar sound so typical of pop punk of that era and these dull melodies. Oh and now they're grown up so they even use accoustic guitars and have freakin' ballads. And of course pseudo-political lyrics. I hated it when it came out, I still hate it.

Another hell of an album from U2. They were really something at the beginning of the 80s. And War is more consistent than Joshua Tree (another huge hit from the 80s).

Really good album; everything is in the atmospheres and the layers of guitars and effects. It's a bit long though.

This album sounds more blues than garage (compared to what they have done before). It has pretty solid songs (great drumming, good melodies) but also some fillers that make the album a bit too long to be really enjoyable.

Did I already say that REM is a great band? Maybe I did. That's one of the few huge mainstream bands that I don't find overrated; actually I ignored them for too long because they were mainstream and thought there was nothing interesting to get out of them. Every time I listen to one of their records from their golden age, I realize how wrong I was. It's less stripped down and raw than Documents but the arrangements are subtle and everything is great, from the well-carved melodies to Stripe distinctive voice.

As soon as he started to sing I recognize his voice (I knew he existed but never heard anything from him before starting this journey with 1001albums). The music is great, the voice is dull AF. A second album from him is too much in this list.

I know better other more accessible albums from Mingus, but this one is really great. Totally crazy. It's full of the things I love in other genres of music: full of contrasts, dissonance, experimentation, and just enough melodies to keep you afloat.

These guys can jam.

Good pop album taking inspiration from indie rock, shoegaze, electronics... Sufficiently diverse and efficient, well served by Manson voice. It succeeds in not being too tawdry to be enjoyable despite its mainstream leanings.

I'm not saying it's a bad album, but everything sounds too 80s: the music, the instruments, the production... It screams that it belongs to this period. And I'm not really fond of the gimmicks of that time. Some songs are good, some are also far too mellow (the 80s production doesn't help).

Ugh. Fun fact: you can sing along "this is boring AF" on any song of the album if you ever want to turn it to a 2!

I'm torn with this one. On the paper, it has many things that appeal to me. I have a soft spot for this kind of indie music, a bit shoegazy, a bit all over the place. But the first half of the album bored me, and then Desire Lines started and sent me in a whole other dimension. Then it's a roller-coaster, some songs are good, some utterly boring. Not sure to see why this album belongs to this list.

I'm not a huge fan of pop and of music from the 80s (the production being generally awful) but Chris has a great voice, even though there's a 80s influence, it kinda keeps the best of it (it's pretty minimalistic overall). I probably won't listen to it willingly again, but that was not so bad.

I used to hate this album, when it was released I couldn't bare listening to it. I not a fan of latino rhythms, and hearing these old men singing was not really moving me. More than 20 years later, I thankfully grew up, and though I'm still not a huge fan of the genre, I can appreciate the music. It's laid back, well executed, and you can here the sun pouring through every note.

That's an easy one. Everything is close to perfect with this album: it's an excellent live record, full of surprises (very good covers), it's nice to hear an electric band unplugged (and it's probably the first prominent example of the genre), Cobain voice is poingant. I'll never get tired of this.

What a nice example of cultural appropriation!

I've just read a review saying that "It's like they heard the White Stripes and decided they could do the same, [... and] dialled the oddest, most manic bits up to 11." but in a bad way. I can't disagree, but in a good way. It's fun, we're hit by a huge wall of noise while listening to this record, it's not revolutionary but it's 4 stars indie garage pop punk (or whatever). Much better than most of the insufferable garage bands of the time. Yeah Yeah Yeah (Yeahs).

That was a lot of fun. I realized that I knew at least a couple of songs, of course the obvious "I"m just a gigolo" but also "Buona Sera", thanks to Treme TV series. Not necessarily my favourite subgenre of jazz, but I spent a good time listening to it.

This is really good, and I never heard of her before. It's really nice & smooth folk rock/pop with a jazz/R'n'B twist. Great voice, nice compositions, some very seventies sounds, nothing too mellow or cheesy.

After a misleading intro, a great album full of surprise and ideas. Not really easy listening, but so much to unpack. Hard not to see how influencial it has been.

Interesting to have The Velvet Underground followed by Transformer. Great record by Lou Reed, another major album. Perfect Day and Walk on the Wild Side deserve by themselves 5 stars.

Still not a huge fan of reggae, still a great album.

The best known songs are honestly pretty entertaining. The rest occilates between a not-so-bad pop version of prog rock, and boring and overblown prog.

It's unarguably a classic, although the mouth harp is sometimes a bit annoying.

I must say that I've never listened to Machine Head before today. I knew Smoke on the Water, and that was it. It's a solid album, much more diverse than what I imagined.

I don't really care about the weird back story of this album (score for a non-existing movie), what I hear is weird instrumental and somber music with an interesting atmosphere. Of course the result is pretty cinematographic, but as many instrumental albums. It's hard to put your finger on the genre(s), which makes it also interesting. A bit anecdotical, far for the best instrumental album I ever heard, but decent nonetheless.

I might not have been in the right mood to listen to this record, but it really feels like an anecdotical live album from a dad rock band in the seventies. Nothing is particularly good or outstanding -- it's not really bad either, but I don't see the point of such an album here. Everyone seems pretty happy (band and crowd) in this record, but that was boring to listen to.

In the late nineties/early naughties I was young and weak and I listened to some pop punk for a short time (actually Blink-182 and The Offspring, that's it) before turning to the most metallic side of things. I'm comfortable with my tastes at that time, but the truth is I never quite like the sound of guitars in this genre, too bright, with too many major keys. I never listened to Dookie before because this phase was too short for me to dive in the glorious history of pop punk, but it has all the same qualities (pretty fun and easy to listen to) and defaults (this horrible guitar sound, all songs could be the same) of other albums of the genre.

I'm less of a fan of the R'n'B phase of Bowie. The album is good nonetheless and the most knows tracks are real bangers (Young Americans, Across the Universe, Fame).

This is indubitably a masterpiece, with an impressive balance between experimentation and melodies, complexity and simplicity. This a music for the brain and the soul. The result is stunning, and you're carried away as soon as the iconic trumpet phrase of So What starts.

Yet another folk-psych album. A couple of songs were not that bad, but as a whole it is far from being memorable. I feel like we already ran into a couple of those albums in the list, and I don't really see the point of multiplying this kind of entries.

This is a great album, very bluesy, with distinctive elements from that time (Hammond organ, but wisely used), and her voice. What a voice! All killers no fillers, and the highlights of the album are just stellar. Move Over, by itself, deserves more than 5 stars.

All this orange made me think of the first Boris Heavy Rocks. It has nothing in common. When he's willing to make an effort, the guy has a voice, but most of the time he sings in a pretty boring way. The music behind has some interesting bits, but I'm a bit lost with this kind of post-modern mashups where everything blends and nothing stands out.

I am experienced, indeed.