“Rod Stewart’s success and popularity is the greatest mystery of our time.” - Grover Cleveland

A haiku: bossa nova nice but gets 5 for drummer's name: Milton Banana

A haiku: Their name’s DMC Here you see, it’s fun to rap Repetitively

In 1992, I went away to college. My Dad was really, really strict, and it was very stressful living at home for the last few years. I can remember laying in my bed in my dorm room, with the wind blowing through the open window, and finally feeling relaxed. Relieved. Free. I can remember doing that same thing many times that first semester. Opening the window, climbing up on the top bunk bed, and just being free. Much of the time, I'd throw an album on at high volume while I zoned out. My roommate happened to own this CD. One day, I decided it was a good time for my ritual, and I put it on. I was familiar with Peter Gabriel but had never listened to this album. It was so overpowering and emotional. The sounds created here were so vivid, it's like I could visualize brushstrokes across my vision of the world through my dorm window. I feel like I lived a whole life in my mind while listening to this album. Everything I had been through, what I wanted out of my life, who the important people were for me, where I wanted to go, what I wanted my college experience to be like, who was I outside of my parents' house on on my own, and so on. I was feeling emotions I had never really acknowledged or experienced before. And as I listened to this album today, I was there again. Re-living that time of my life. But now, I listened while knowing what kind of life I've lived and the choices I've made. I realized "Don't Give Up" is a parents' message to their child. And really everything came full circle. I listened and thought of my kids' lives, and what they will do as they grow. And found myself in that zone again. Really truly feeling happiness. It's a beautiful and entertaining album, and one of the few that exist that really take me to another place. So (pun not intended) happy that it popped up today!

This was a pretty good audiobook, but the background music they chose was a little sleepy.

He puts his varied sounds and talents on display here. You have the funk of Boogie On and You haven’t Done Nuthin. The Motown bleeding through on Please Don’t go. The beautiful Heaven and haunting They Won’t Go. The sleek Creepin’ sounds about a decade ahead of its time. It’s just an amazing album. One thing Stevie always does well, and is on display here, is building the track up bar to bar, verse to verse, minute by minute. I particularly love when his soft voice is leading and his growling voice is going crazy in the background on Heaven Is A Zillion Light Years Away. He’s a great producer in addition to being a world-class musician, performer, and vocalist!

Didn’t really add to what I thought they were from the few songs I’ve heard. Then again, I’m not huge into Velvet U. Can hear influence on bands like Brian Jonestown Massacre.

Familiar with this one. Tremendously high highs, but lots of skippable tracks here. Falling into that old rap trap of too many interludes. However, the highs are proof that if you have some musicality in you beats, and not just droning bass notes with a few piano notes, rap can be really special.

Gonna do some live notes on this one. First two tracks bore me. Was surprised to hear the third track, God Put A Smile Upon Your Face, sounded a little angular, there was a little edge in the bassline and guitar work. This song sounds like it could be a Stone Temple Pilots cover. The chorus is a little unimaginative though. Also, I have yet to hear any particular thought-provoking lyrics. The Scientist. Of course am familiar. This is the kind of basic, repetitive, overproduced global hit that turns my stomach. It doesn’t move me the way it thinks it will. I’m a little annoyed that 1001 Albums is making me listen to this tbh. I could have died without hearing this without issue. Also familiar with Clocks. It’s admittedly a cool walk down part on the piano on which the entire song is built. But damn, it just repeats forever. The bridge is not a big enough departure from the pattern. They built something cool from that repetition but after a couple times through, I’ve had enough. Speaking of clocks, this is 54 minutes of my life I won’t get back. Well, Daylight is different! Cool bassline in the verse. Then, are those strings tracked backward? Some cool stuff in the verses. 3rd track and this definitely the highlights of the album so far. Still surprised how bland and generic the lyrics are. I expected they’d be better from reading a few album reviews. Shrug. Lyrics are pretty subjective anyway. Green Eyes doesn’t blow my mind, but it’s nice to hear a different sound from them. Acoustic with country influence. Lyrics suck again though. Maybe I was under the wrong impression, I thought Chris Martin was supposed to be good lyricist. Sounds mostly trite to me. Warning Sign - in the first two minutes, the entire four-plus minutes of this song have bored the shit out of me. Whisper - OK, well they’ve found something cool here with the 3/4 time. So I’ve learned that there’s more to Coldplay than the antiseptic pop they got huge with. Again, some cool bass things and production giving it an off-kilter dreamlike feel here. So that’s a compliment, right? Rush of Blood - lyrically, I see the Johnny Cash and Nick Cave influences Martin mentioned to Spotify. But it’s too clean and shiny for the darkness it tries to convey. Amsterdam - well, going into it I’ve heard a few songs with the same title that are good. Can they pull it off? … more than halfway through and not looking good. … And no, nothing interesting here. While this track wraps up, I’ll confess I am not sure what it is that I have against Coldplay. I guess it’s that nothing moves me. Almost like it’s trying too hard to be more than it is. It projects a lot of emotional drama, but I don’t feel any of it. Perhaps my authenticity detector is picking up songs being written for popularity rather than for art. Sounds pretentious but just trying to verbalize the way I take in this band’s music. I will say there were three (God Put A Smile, Daylight, Whisper) tracks that make me appreciate them a bit more after this listen. Don’t mean to be harsh, this is a perfectly fine album, but unfortunately that’s all it is.

On this version of No Woman, No Cry you can hear how his vocal melodies and vocal signature are what makes him stand out versus other reggae artists. I noticed that BM didn't have writing credit on many of the songs here. Found that he actually did write all of the songs but was in a contractual dispute with Cayman Records so put the songwriting credits in friends' and family members' names as a way to help them while also avoiding the issues with the record company. Amazing that he can produce music that is so infused with lyrics about justice, freedom, religion, and political calls and at the same time so catchy. Why doesn't other reggae come close to the same appeal across the world? I think it's his vocals. Just learned lead guitar is Al Anderson, who played briefly with Aerosmith in Boston, and was invited to play on a Traffic album but never did (before playing with Bob Marley) and played on a later Peter Tosh album. Love the lead guitar noodling with the wah on may of these tracks. I like the Exodus, Survival, and Uprising albums better than ND, and the end of this one is not as good as the start IMHO so I'm leaning toward 4/5 here. This album reminds me that one of the things I like about reggae is the open space left for other instruments like the wah guitar on earlier tracks, and the horns in Revolution, to pop in and give the song life. Great album, and seemingly recognized as Bob's greatest and therefore the greatest reggae album ever, but my taste falls to some of the later albums. Charlie Hunter's jazz version of this album is also great btw.

Punk is essentially two things: the message and the energy. You do hear them both here, but I need more than that. Give me more interesting compositions or production or playing, or give me a groove that is impossible to ignore, or give me lyrics and a vocal performance that moves me. I like The Clash and I appreciate the viewpoint and the energy, but this isn't an album I'd ever choose to put on.

We’re getting a lot of 70s stuff right off the bat here, huh? I’ve always been lukewarm on The Who, but that said, getting to listen to Keith Moon destroy the drums for 77 minutes was fun. Tattoo is my favorite song by The Who so nice to hear it sound good live. Also am a fan of Substitute, Can’t Explain, and A Quick One While He’s Away. Also twice they really sounded like Led Zeppelin, once in the jam in My Generation. Super interesting since LZ's first album and tour was in '69, and this is early '70. Coincidence? Hey, they sound great, but I'm probably never going to put this album on. The Who are missing … something. Like, they're good, but not interesting to me.

I never listened to an S&G album all the way through. I love their most famous gems. Four of them here in Scarborough Fair, Homeward Bound, The 59th Street Bridge Song, and For Emily, Wherever I May Find Her. I think these songs really take you to another place. I also really love Simon’s solo stuff in the 70s and 80’s. I’m not big into folk music (sorry Harry!), so I was always afraid the other songs on these S&G albums wouldn’t live up to their best work. And sadly, I don’t think they do. I was really hoping there was a wealth of great tunes here that would transport me, but I don’t think so. I even gave it a second listen and liked the songs better the second time through. But aside from the standouts, I’ve learned I’m just not that big into S&G beyond their most famous tunes.

What I think I know about this album going into it: I know this is the band featuring producer Butch Vig on drums and fronted by Shirley Manson. Vig produced Nirvana’s Nevermind and Smashing Pumpkins’ Gish. I only know two songs from this album: Only Happy When It Rains, and Stupid Girl. I was an in-studio intern in the summer of ‘96 on the morning show at WHFS in Washington DC and we played Stupid Girl A LOT. Like, A LOOOOtTtT. (Also, just to date myself more, we used CDs!) While listening: - In Supervixen I hear how huge Pixies’ influence was on the 90s sound. If you’re not familiar with Pixies I’m sure you’ll hear them on this list. - “I’m riding high upon a deep depression” - This line kind of sums up 90s alternative music. - As major key as the 80s were, the 90s were so minor key. - Not My Idea - I think I know this song too! Kind of a cool song, I like the instrumental between the chorus and verse or outro. - OMG I never realized how much of 90s alternative music was about flat-out refusing to be happy. But … jeez. Looking back at it …. - A Stroke of Luck - Hey, this is a COOL 90s sound that I forgot about. Reminds me of Sneaker Pimps’ “6 Underground” which I’ll never stop thinking is cool af. - My God, Stupid Girl really transports me to a point in time when I was young, carefree, and stupid lol. - My Lover’s Box - Beastie Boys sounding intro. - Fix Me Now - Well this is clearly the worst song on this album. - Wait! Milk wants to be considered … Nope, def Fix Me Now wins. - Overall: Can’t believe how this album’s vibe brought me back to the 90s even though I’ve never heard most of these tracks. Not bad though. Honestly, better than I expected.

Well, if I was at a rave in ‘94, this would be perfect. Sitting in a chair listening on headphones 30 years later, bores the shit out of me. Unless you are at a rave or something, no one needs the same beat going for 8+ minutes. I know some tracks change it up at some points, and it’s all about the progression and how it builds, but you get what I mean. I’m on the fourth track now and luckily these are getting shorter. I will give them props for adding some metal guitar to a dance track. I need to see the Techno Viking going to this! Poison - I was just thinking “Oh this could easily be a hip hop beat, then in the middle it, completely turns in to an old school beat. More than halfway through, this is where I start drawing some lines in my overly-critical mind…. Do I enjoy listening to this? Not actively listening, no. In the back ground while I’m doing something energetic? Sure. Do I think it’s good music? Musically, there’s not a lot happening. Basically you get the drums down, throw a variety of samples, etc., on top. But is it good music? See answers to my previous questions. Is this artist talented? Definitely stitching together tracks like this takes talent. Do I like it? I think it can take you to a place just like Simon & Garfunkel can, but in a different way. And I like that at the right time and place. But at this point in my life, I’m never ever going to be in that time or place again. So, no, I would never listen to this on purpose. I’m a real trooper though. I’m gonna listen to this whole goddamn thing and you can’t stop me.

Pre-Listening: 1. I love Lindsey Buckingham and think he’s a wildly underrated songwriter, producer, and guitarist. 2.) I think Christine McVie is a fantastic songwriter and most of my favorite Fleetwood Mac songs are McVie tunes. 3.) I think Stevie Nicks is crazy overrated and I think Stevie Nicks’ Fleetwood Mac songs are overexposed, and maybe I once liked them but not anymore because I can never escape them. 4.) This album, with Nicks-Buckingham’s relationship over, curiously has few Nicks songs and many Buckingham and Christine McVie songs. That means I have hope that I’m going to like this one. From what I’ve read it’s like a Buckingham fever dream. 5.) For anyone who is unfamiliar with Fleetwood Mac and the interpersonal turmoil that fed their songwriting, you should read about it. It’s crazy. In short, there are two couples in the band that broke up during the writing and recording of the previous album to this one, Rumours, and that album ended up being one of the most successful — both critically and by album sales — of all time. Many of the songs are bitterly directed at other members of the band, and I don’t think there’s been anything similar to it in the history of modern music. Listening: Calm McVie song, then The Ledge which is pretty manic. Another calm McVie song. Then, what seems like a Buckingham spiritual. Nicks’ Sara, an overplayed radio song. There’s more soap opera drama behind this song too if you look it up. That’s Enough for Me - much needed energy from Buckingham with a fuzzy bass underneath. Buckingham’s guitar works elevates Nicks’ Sisters of the Moon. Three good Buckingham tunes carry the back half of the album: I Know I’m Not Wrong - Sounds like all the Buckingham songs are still about Nicks. Can’t blame him, she did a number on him, including having an affair with the drummer, Mick Fleetwood. Two more songs which may be the best on the album: Walk A Thin Line and Tusk. Is this a great album? Nah. I do feel confirmation that all Buckingham songs kind of sound the same, all McVie songs kind of sound the same, and all Nicks songs sound the same. I just like the Buckingham songs better.

Well, Jeff Beck is someone I’ve heard people rave about as one of the best guitarists ever, but I’ve never listened to him. Rod Stewart is the lead singer here, and I hate Rod Stewart. 😖 One thing I thought was interesting in reading about this album is that it's often referred to as the first metal album. It's clearly not metal, but there are moments in some tracks where you can hear it. I can hear that these are great musicians around Beck, including Ronnie Wood from the Stones on bass. I hear moments in these tracks that are really great. But, it’s basically a blues album and I’m not big into listening to a whole album of blues, admittedly. (Seeing it live is a different story.) So I found myself bored when I wasn’t being irritated by Stewart's vocals. Best track was when Jimmy Page, John Paul Jones, and Keith Moon join for “Beck’s Bolero”. Overall, not my thing though.

Banger-palooza! A true classic. The bridge between 70s rock and 80s New Wave. Seven of nine tracks are radio hits. A must-listen with good headphones. They loved synth and effects, but then a guitar comes in with a great riff, or a tasty solo. I forget how good the solos are. Fun fact: The producer here also produced a lot of Queen albums, including Bohemian Rhapsody, so no surprise that it sounds so good almost 50 years later. So much cool stuff going on in 3-4 minute pop gems. Just a great album and one of the best debuts ever.

Oh my! Two bangers in a row. This album makes me wish I hadn’t given The Cars a 5! One of my favorite albums of all time here. I hope everyone enjoys it! Definitely an album to listen to with good headphones to enjoy all of the elements going into these tracks. Also, if you haven’t read about the recording of this album and the controversy surrounding it, the Wiki does a good job of covering it. Obviously, the music bouncing around among different genres and sounds is amazing, but when I think about this album it’s the imagery that Simon evokes with phrases dropped throughout that stands out to me. The title track is a great example of this. Also, the bass absolutely slaps in every track!

I’ve always wanted to listen to this entire album but never have. When I first heard Knights of Cydonia, I stopped in my tracks and was like, “Wow, a band that is doing something different!” Since then, I’ve always liked what I’ve heard of Muse. Damn. Assassin comes at you like a spider monkey! I like that the second half of the album they really let some of the other influences out of the bag, like on City of Delusion which is an album highlight for me, Hoodoo, and Cydonia. I do love when he lets the guitar drive the song. They can ratchet up the intensity both musically and lyrically, or kind of float and get introspective. I like that they are musically diverse, but still 100% their own sound. I’ve heard his voice compared to Thom Yorke, which I hear, and Freddie Mercury, which is a stretch, but on Map of the Problematique he really sounds a lot like Bono from U2. Any way you slice it, dude is a premier lead vocalist. (As a whole, they do a fantastic job of having impactful background vocals/harmonies.) Also, a thinker: three people in the band, four people on the cover. 🤔 It’s a really good album, and one that I would listen to again! (Which I just did and it’s better the second time around.)

I suspect Ryan thinks he’s better than he is. 🙈 A gaggle of one-dimensional songs here.

I’ll preface my thoughts by saying: 1.) I have a hard time not getting bored at some point in an entire album of blues. 2.) Muddy Waters in on the Mt. Rushmore of blues. I liked this album because it kept the energy up throughout. I didn’t look down to see where we were in the album until the second-to-last track. That’s pretty good! Nice, clean production so I can hear every last bit of his tremolo! Every tremble in his voice. And if you’re wondering how I can like this album but not like Jeff Beck’s Truth, well, the difference is in the authenticity. I can hear it, and feel it. In his guitar playing, in his voice, I can feel it coming from his gut, and it resonates. Will I ever listen to this? No, but it was good to hear it and experience it.

Always been curious about The Zombies because I always really liked their hits, like Time of the Season and She's Not There. They had a mysterious vibe to them with a touch of psychedelia, and I always wanted to hear more. I can hear the Beatles influence in the first two tracks, one year after Sgt Pepper. Quick search shows this was recorded in the same studio (EMI/Abbey Road) using the same four-track! Most of the rest of the album is more similar to early Pink Floyd-type songs than Beatles though. Besides Time of the Season, I think This Will Be Our Year and Friends of Mine are album highlights. While I can understand this was a cool album at the time of its release, I'm kind of disappointed. I was hoping for more of what made their hits interesting, but it's not really that. Overall, it's not something I would choose to listen to now.

Well, I’d never listened to this album, but heard some of the songs. I love a lot of old 60s R&B and Soul, so really dug some of the sounds here. The two main producers did a great job of giving most of these tunes the 60s treatment. It really is amazing what a fully-developed musician Winehouse was at such a young age. She has absolutely total command of that voice and uses it so stylistically it’s really like an instrument. Even though she has entertaining lyrics, it doesn’t really matter all that much. My mind just followed her voice sliding from note to note. Have so much more respect for her talent after listening to this album! Will I ever listen to this album? I would probably just listen to original 60s tracks, however, if I heard a some of these songs playing, I would listen now and enjoy it. I think I would give it a 3.5/5 but that’s not a choice.

Wow! I've been listening to this on repeat all day on the best speakers I have. It's pretty amazing. With the album being what it is -- made for his fans once he knew he was going to die soon -- we have the ability to remove some level of listener interpretation and just listen to this honestly. Take it in, and don't overanalyze the genre, the lyrics, the playing, the songwriting ... just take it in. It sounds amazing. It feels transcendent. I think it's beautiful. If I were to overthink it though, I would say that the tracking is interesting, starting with the most challenging track and then working its way to more comfortable, accessible tracks. Maybe this mirrors his acceptance of his fate? Also, if I were to overthink another thing, I would mention how this band absolutely crushes every wrinkle Bowie throws at them. But I'm totally not doing that. If art is the transference of a feeling or an idea through an artist's creation, then this album is absolutely a masterpiece.

My favorite part of this album was when it ended.

I love that Hazey Jane II came before Hazey Jane I. See, you don’t wanna get mixed up with a guy like Nick. He’s a loner, Dottie. A rebel. I've never been a fan of his vocals. I can never put a finger on why I don't really like Nick Drake, but I always come back to that. I enjoyed a few tracks but overall it's just not my thing.

The title track is a work of art. Little Wing is a beautiful classic. Castles Made of Sand another. A lot of great tunes here, but some are just OK. (So nice of Jimi to throw Noel Redding a bone by allowing one of his songs on the album.) I don’t think it really captures his guitar magic though. And that’s what I’m taking away from this listen: historically he’s remembered for being the greatest guitarist ever, but he’s very underrated as a songwriter.

Can’t separate the art from the artist here. 1/5 for the Nazi.

Track 1: Just a Little Lovin’. Track 2: So Much Love Two tracks in and I’m utterly confused about the appropriate amount of lovin! Have to say I'm a bit underwhelmed by this album. Hadn't heard too much Dusty Springfield, but liked what I'd heard and had high hopes. I guess it's just not as soulful as I expected it to be. 🤷

Well, this is way better than the Judas Priest album I got last week! What I respect about metal, and this album: 1.) The musicianship. A lot of talented musicians with technical chops. 2.) I like complex compositions, so dig the tempo changes, odd time signatures, etc. 3.) Love the energy. Dig the shredding. What I dislike about metal, and this album: 1.) It all kind of sounds the same. 2.) Metal vocals. I don't enjoy the high-pitched wailing nor the low cookie-monster growl. Very little metal falls in between. 3.) The lyrics/imagery. The constant references to dragons, death, curses, poison, disease, hellfire, burning, war, insanity, evil, snakes, jackals, roaches, gallows, cesspools, darkness, etc. "I am a nuclear murderer." It's just exhausting. So, in general, metal bores me. I can see the artist peeking through many of these cliches here, but they are totally still here. That said, in terms of a metal album, as a non-metal fan I was able to make it through this album, so that's saying something.

😑🥱😴

There are stereotypes out there about jazz, that it takes itself too seriously, or people who listen to jazz are snooty, or better-than. Or some think jazz is inaccessible. Anyone who thinks that should definitely listen to this album. Sarah Vaughan stays cool, calm, and makes the crowd laugh as she effortlessly flows through this set. The band, the audience, and her have a sense of community as they experience the music together. Vocal jazz is not my thing personally, I like jazz without vocals, but I really enjoyed listening to this legendary vocalist. The recording is so intimate you can hear audience members whispering to each other, and I really felt like I was in the room. I found it easy to listen to, and I have a much better understanding of Sarah Vaughan now.

I actually think this is the worst out of Steely Dan’s 7-album run from ‘72-‘80, but still a 5/5. You can listen a thousand times, but SD has so many interesting elements in any given track, it’s the gift that keeps on giving. Never get tired of listening to them!

I tried. I really did. There’s nothing here. Hollow sounds.

I like this album better than Jeff Beck’s Truth which I listened to a couple weeks ago. This being more traditional blues and better production in my view. But probably the biggest reason is Rod Stewart isn’t here scratching everything up with his stupid voice. Clapton’s solos are great of course, and I’m aware of how influential his guitar work is here. Too bad Clapton is such a prick. And apparently he’s been a d-bag since at least 1966 when he “felt like being uncooperative” during this album’s photo shoot, which is why he’s reading a comic book on the cover. What an ass.

BB is the king because he has the chops and it’s all so perfectly tasteful. I can respect that. The thing about being tasteful though is that the guitar, the music, never gets gritty or grimy or rough around the edges, and I always feel like that’s missing with BB. Like he uses his voice so well, and he gets his growl going sometimes, but it’s all so under control. I guess he makes it sound too easy. It’s weird. It’s almost as if because he sets the standard, he can’t ever blow my mind, because he always plays what I expect. It’s not a criticism; how could you ding a guy for always being perfect? I guess it just means my taste is for blues is to be a bit dirtier and grimier than BB’s clean-as-a-whistle style.

Have always dug the Violent Femmes! Familiar with their five most famous tunes here, but had never listened to the whole album. Surprised that some of the deeper tracks lagged a bit, so that will drop the rating down to a 4/5 but look, nobody does what the Femmes do. They are truly original and I have so much respect for this band!

70s Disco MJ > 80s Pop MJ

Well, I’ve always thought I need to listen to a Joni Mitchell album. I’ve heard quite bit about her unorthodox guitar style, and interesting song structures, beyond her unique vocals. However, I’m not much of a fan of folk music, so I’ve been wary. Well, I listened, and WOW. I really had no idea. This is not what I expected! Among the things I read about this album is that the drums on “The Jungle Line” is essentially a sample, and possibly the first-ever. Not sure if the little horn part at the end of the drum loop is part of the sample or not, but that loop is fire. These songs really transport you when you listen to them. So many great little touches. Love that the album flirts with jazz for much of the album, and at one point one track just completely becomes a jazz tune. But yeah, I find myself so lost in the songs I become unaware of the song structure. Am I in a chorus? Is it a verse? A bridge? The songs just feel like you're getting a tour of some place you've never been. You take a right, you take a left, where are you? Who knows, who cares, it works. And that's some genius-level shit. I get why people love Joni Mitchell now. I like this album WAAAAYYYYY more than I ever thought I would.

Should preface this by saying I’m a big Beatles fan, but have never really embraced much of their solo work (with the exception of George’s All Things Must Pass). Lennon’s solo stuff is pretty hit or miss for me. Obviously he can pen some great songs. A few are here: Imagine, Jealous Guy, and Oh Yoko. But there are songs that lack imagination (pardon the pun) here too, like Crippled Inside and It’s So Hard. I Don’t Wanna Be A Soldier sounds like an experimental track that doesn’t quite land. That said, there are some interesting tracks here too, like How? and How Do You Sleep? Overall, I guess what I’m saying is this album is very inconsistent, and I’m a bit surprised it’s so highly rated on these greatest album lists.

What I’ve just listened to is one of the most insanely idiotic things I have ever heard. At no point in this rambling, incoherent album was there a musical idea even close to anything that could be considered an interesting tune. Everyone who pressed play is now dumber for having listened to it. I award this album 1 star, and may God have mercy on “1001 Albums You Must Hear Before You Die” editor Robert Dimery’s soul.

How about “Kill the Poor” as a first track on a debut album? The Kennedys were authentic, that’s for sure. I love it, and I get the sarcasm, the satire, and the baiting going on here. But congrats, Jello, you got me. I don’t like fantasies about murdering people, and I don’t like references to killing children no matter the level of sarcasm or satire or fantasy. You’re smart enough to make your point a different way. 4/5

Well, I thought much of the first album was good, haunting rock. The band is great. His lyrics and whole dark minister thing isn’t my vibe generally, but certain tunes there are objectively good songs. The second album. I think I would enjoy this so much more with a different vocalist/lyrics. I like the music on the second album but his persona, which I realize is a lot of his appeal, doesn’t speak to me.

Over the last decade I’ve been listening a lot of old funk, R&B, soul and Motown. For some reason I don’t get into 70s Temptations and I can’t put my finger on why that is. So I’m not surprised I only liked about about half of these tunes here.

I tired of The Doors sound long ago. I mean, I like the band, but in general find them too Jim Morrison-y. Aside from two all-time classics in Light My Fire and Break On Through, I think most songs here are just OK.

I think some of what Sonic Youth does is really cool, but other things not sim much. I guess I like them in small doses, but maybe not an entire album. I could see myself revisiting this album at some point and we’ll see. It could grow on me.

I really liked this album! Picasso’s Last Words is really the only “weak” spot here, but on the other hand only three “great” songs. So after much deliberation, and very compelling presentations by the representatives of both the number 4 and the number 5, I’m going to give it a 4/5 because ultimately it is not a perfect album, and I want to keep my 5/5s reserved for those perfect albums. In reality, it’s a 4.5/5 but I can’t do that. For more information about how I can’t decide on my ratings, send a self-addressed, stamped envelope to Pueblo, CO.

I appreciate what Michael did here. It’s clear he’s trying to take back his public and musical persona/definition from the record company’s marketing machine. He makes it clear in Freedom, and I love the authenticity shown here. This track is a 5/5 for me. Otherwise, the album is full of songs that show he’s not just a brainless pop star marionette, and for that he earns my respect. Also want to note Michael’s credits in this album: vocals, guitar, bass, keyboards, percussion, horn arrangements. He’s making HIS album, and that is noteworthy. However, in his need to gain that respect as an artist, I think he perhaps overcorrects. The Stevie Wonder cover “They Won’t Go” is an egregious, misguided decision, especially since it’s fairly note-for-note. “Mothers Pride” is quite heavy-handed. Ultimately, while I respect his work here, and his quest to reclaim his identity and his career, most of the songs here are quite average.

Love Louis Prima! I’d say one of the live releases would be a better addition to this list, so you can get a sense of the energy that Prima would bring, but this is good for a studio release.

The Stones are primarily a combination of two things: blues-influenced rock, and provocative lyrics. Well, I'm not much into blues, so that aspect of the Stones doesn't draw me in. And I'm not a 13-year-old boy, so these "provocative" lyrics also don't do anything for me. In fact, whenever I hear it in their songs, I roll my eyes because it seems so calculated. Songs like Brown Sugar, Sway, and Sister Morphine seem to be trying to push the lyrical envelope, but it more or less turns me off. You Gotta Move and I Got The Blues are straight boring. That doesn't mean it's all bad. Can't You Hear Me Knocking is probably my favorite Stones track. Bitch is a classic, and Dead Flowers is a great, down-home, country rock sing-along. I like that Moonlight Mile is a little different. I'm hoping in doing this exercise I'll find the deeper tracks that will open my eyes a little more to this band. However, that didn't happen here.

I knew this was a 5/5 after just the first two tracks! Minawa is perhaps the most beautiful jazz recording I've ever heard. This is an amazing album! Inner Crisis is so funky. GREAT GOOGLY MOOGLY!!

I’ll circle back to this one again in the future because I expected to like it more than I did on first listen. I was expecting it to be a 4/5, and hoping for a 5/5. What I found was once beyond the “hits” the deeper tracks all kind of had a similar feel. That’s not great with an album of this length, as the songs on the back half started to blend into each other.

I wore this cassette out in high school and college. Now when I listen, some of these tracks are still fire but all the anti-women BS and the dumb skits are a shame.

As someone who listened to nothing but rap between ‘89 and ‘93 and would consider myself very knowledgeable of the genre at that time, I never took Ice-T seriously. I have since learned a bit about his formative years and understand he was on his own at a young age, and was brought into the worlds or drug dealing and prostitution as a teen. That said, I was never able to take him seriously as a rapper. He has always seemed more like a caricature than the real deal, and I can’t say why. I will say the beats on Mic Contract and OG are smoking’, and New Jack Hustler is one of the best rap songs of that era. However, some of it definitely sounds like he heard Straight Outta Compton and told his producers to get some of that on his new album. Ultimately, I just can take him seriously.

Well, it doesn't seem that bad, but that may be because I generally like the artists he's primarily borrowing from, from the Beatles to Elton John to Oasis and Blur. If I wasn't so critical about music, it would be fine. But I am, and it's not.

Thought I'd like it more because I've listened to quite a few MA songs. I like much of it, but dated and lags in places.

Wasn’t familiar with the music though I was aware they were pretty popular in their time. Started out strong and I thought it was going to be a surprise 4/5, but kind of faltered down the stretch.

Meh. Updating my review from Rust In Peace: What I respect about metal, and this album: 1.) The musicianship. A lot of talented musicians with technical chops. The bassline in Peace Sells is awesome. 2.) I like complex compositions, so dig the tempo changes, odd time signatures, etc. 3.) Love the energy. Dig the shredding. What I dislike about metal, and this album: 1.) It all kind of sounds the same. 2.) Metal vocals. I don't enjoy the high-pitched wailing nor the low cookie-monster growl. Very little metal falls in between. His voice here isn't as wail-y as many, but still not a sound I enjoy. 3.) The lyrics/imagery. The constant same-y references. Just from this album: death, conjuring, the devil, flames, religious imagery, ashes, wizards, magicians, candles, black cats, burning, Mephisto, God, hell, execution, fear, darkness, evil, the grave, terminate, final judgment, haunts, killer, intruder, homicidal, bloodthirsty, demon, victims, meat, sinister, fiend, slaughter, lethal, pain, deviant, sadistic, convulse, agony, mangle, omen, sacrifice, master, fire, goat, blasphemy, etc. I mean it's just absolutely freaking exhausting in its repetitiveness. So, in general, metal bores me. As a non-metal fan I was able to make it through this album, so that's saying something.

They can create some amazing ethereal tracks and I love that about them. I Might Be Wrong is killer. If I was a rapper I would loop that shit and gladly accept all of the awards. Every track isn't a classic, but at least they give you something to feel, something to listen actively to. A really, really good album. 4/5

What a great album! John Fogerty's voice is the eighth wonder of the world.

Wasn’t familiar with Elis Regina before. While not crazy about much of this album, appreciate the opportunity to learn about her life and career. Digger the funkier stuff here, like the last track. From what I’ve read, this is a curious choice for the book. It seems to be a hastily thrown together compilation. Another questionable choice by the editor here. I mean, it’s fine but doesn’t seem like the best choice for this artist.

Heard these tracks a gazillion times, so no need to listen. Amazing band, amazing album.

I like Jack White, really like the first WS album, loved The Raconteurs first album, etc. but I think this album is full of average songs other than Seven Nation Army and Black Math. Some I don't even like very much. 3/5

Love Sly&TFS’ layered grooves here. Wish some of the songs were a little more fully formed but when the funk rolls for awhile, I can’t really complain!

“Rod Stewart’s success and popularity is the greatest mystery of our time.” - Grover Cleveland

I wasn't into techno, jungle, d&b in the 90s. I'm much less into it now.

I enjoyed listening to this. Reading the story of the circumstances leading up to the concert made it even more entrancing. Great for background music OR active listening! There’s not a lot of albums that fall in both areas. 4/5

I generally like trip-hop, and acid jazz, when I hear it, but have never spent any time diving into it. Thought I would like this a little more than I did. Fine background music. Some tracks pretty interesting to listen to, yet others are a bit too repetitive. So probably a 3.5/4 here, but of course I can't rate it that.

A haiku: Have you heard this one Characters love cars and girls Always hate their town

A haiku: Hmmm like CCR Ingredients always good This meal a bit bland 3/5

This is a great example of why I’m doing this. I’d heard of Os Mutantes, and maybe heard a track or two, but didn’t know anything about them. So glad this popped up. I really loved this album. I love that you didn’t really know what sound would pop up next, but it was always fun. I will be definitely be listening again!

Have a lot of respect for PW and the band. I found it a song-by-song experience. Loved some tracks, but not a fan of others.

A haiku: Whoo-hoo, the Germans! Laid the land for this music I’m … a little bored

A haiku: To be a cowboy Steer rasslin', villain duelin', Cathouse loiterin'

A haiku: Sex Pistol guru Makes hip-hop square-dance opus Eminem loves it

A haiku: Heaven 17? Heaven 2 or 3 at best Aren’t I clever?!

Meh meh meh

Hey! This is another discovery! Obviously had heard of The Sugarcubes, but I guess I expected their music to be a little more jagged, and Bjork's vocals to be a little more turbulent, but it really wasn't. It was far more hooky than I expected. It's like they took the best elements from so many new wave/80s alternative sounds and melded them beautifully. There's some B-52s, and some Siouxsie & the Banshees, some INXS, some XTC, some Cure... Not saying they're derivative at all, but just trying to say they've built their sound in ways that I enjoy. Really dug the rhythm section across this album. Thought for a while this might be a 5, but I reserve those for *perfect* albums so ended on a 4, but this was a really great surprise! (We really need to be able to add .5 on these ratings because this is likely a 4.5.)

A haiku: Ooh, titillating! No, too sexy, too sexy! See you in boudoir

I basically only listened to rap in high school. This was the fourth rap album I bought and it certainly widened my world view as a white suburban 14-year-old. I wore this tape out. Dre brings some great beats to the album. Cube and Ren are great MCs. I’m not an ignorant teen any more though. And the level of misogyny here is through the roof, so I’m going to knock it down a few stars for stupidity.

Not bad

Probably 3/5 but I’m bumping it up strictly for the ‘stache.

Ew

This is kind of a ridiculous inclusion on this list unless you are including film scores. And many, many film scores are better than this. This is basically, by Adamson's own admission, an application for scoring jobs. I'm guessing this is included because Adamson was in Nick Cave & the Bad Seeds. 2/5

I liked numerous tracks. I thought many were a little slow, or dated. It was also quite long. That said, I always enjoy Brazilian progressions and so I liked that aspect.

Eh, I'd probably rather listen to an entire album of just the rhythm section here. Maybe even the guitar on top of it. But I could do without Lydon's caterwauling.

A haiku: Their name’s DMC Here you see, it’s fun to rap Repetitively

So glad I got this album! I had previously gotten “Dusty in Memphis” and was kind of disappointed. This album she really seems to be at her best. And it totally helps to have a cadre of all-time great songwriters supplying the material. I think the compositions are so much better here, and she absolutely crushes these songs.

While they do have some bangers, like the title track here, I find a lot of their songs are cut from the same cloth. And the cloth is a fairly boring cloth.

Really talented, but the songs could be better.

I had heard two songs by The Coral which I liked. Was surprised by the sound here, which was quite different than those tunes. I was also surprised at how bad some of the tunes were on this album. They are playing with some interesting sounds and styles here, but I don’t think they were successful in implanting them into coherent songs.

This sounds like a roots rock album by an aging Eric Clapton or similar. But there’s a little more to it. There’s some jazzy touches, soulful parts. I definitely don’t really hear the Traffic comparisons. It’s recorded beautifully and cleanly. I feel like it was recorded in a remote cabin, and the recording feels like I’m in the room. I just can’t figure out whether I like the songs but not the execution, or vice versa. I think I’m not crazy about Weller’s vocals. And I also feel a theme of middle-age throughout that I’m not quite relating to, even though I probably should given my age. I think I would give it a 3.5 if that were an option, but it’s not.

This is someone I'd been interested in checking out for quite some time and didn't get to it. I can understand the hype. It's a good album. Lyrics and performance come off as authentic, which is always important to me. Some good tunes here. Walks the hip-hop/soul/R&B/pop line really well. I like the way the songs were fleshed out in the studio. Good use of backup vocals, something I think a lot of artists in these genres forget about today. Reminds me a little of Pharrell, and I hear Prince coming through on some tracks.

As time goes on, this band becomes more and more underrated.

Cookie Monster Death Metal. The weakest of all genres.

One of the most original albums ever. Strickly dan stuckie.

I’ve always wanted to listen to a Sigur Ros album because I’d heard some tracks. I thought their sound varied a little more than I expected. I haven’t checked but I suspect this isn’t their best album, and there will be more on this list. I bet they have better albums.

It’s interesting what becomes popular in the UK. This reminds me of PIL. Some tracks have good grooves, but I’m not sure what Mark E Smith’s vocals/lyrics bring to the table, and yet he’s the only person who’s been part of the band the whole time. Each track did not necessarily make me want to hear the next song. 2/5

A haiku: I love ZZ Top Also don’t love ZZ Top A-haw, haw, haw, haw

This was a pretty good audiobook, but the background music they chose was a little sleepy.

I love this stuff but I‘m not sure I can tell the difference between a high quality salsa album and something less than. I enjoyed this, but I typically enjoy a lot of Latin sounds, so hard to feel good about my rating!

This is a great album. Not quite a 5/5, but new to me and I am always so interested to hear a Bowie album, and this one did not disappoint. He’s just so creative and original, you never know where any song is going to take you.

I could write an essay on this one if I had the time. It’s a fantastic listen all the way through. Genre-bending throughout, the path the listener is taken on is completely unpredictable. And yet, each turn kind of makes sense to me. For example, “No Sympathy” is a quiet acoustic track, with anger bubbling underneath as the lyrics repeat “I have no sympathy for you”. In the last two minutes, the sound slowly transforms into what I could only describe as an electronic freak out, or possibly a laser gunfight. The next track “Juxtapoze with u” hilariously slides into a sunny 70s R&B groove, and the lyrics remind us we have to “tolerate the people we hate,” juxtaposing this with the previous track’s lyrics AND music. There is really no part of this to pick apart. The songs are good, bolstered by the production. Dynamics, instrumentation, song structures, it’s all interesting. Not one time during this album did I think, “I’ve heard this before.” Had it at a 4/5 but the back half of the album really sealed it as a 5/5. Loved this album!

A haiku: bossa nova nice but gets 5 for drummer's name: Milton Banana

It's fine. I enjoyed some tracks but during others my mind wandered.

A haiku: The Fall’s first practice: You guys groove awhile and I’ll “Sing” my “poetry”

TWOD is weird. I both like them AND think they’re making boring mid-80s rock, a la Don Henley or Richard Marx or something.

There’s no denying The Eagles wrote some great songs. There’s also no denying they wrote some average songs, and there’s also some of those here. Lastly, there’s no denying that Henley and Frey are greedy pricks and I should bump them down on the sole basis of karma. 3/5 you insufferable pricks.

Stick with me here. This isn’t a negative review. I seemingly outgrew hard rock and hair bands in 4th grade or so. As a child of the 80s, I found these bands to be a joke. And it never seemed like the members of these bands realized how ridiculous they were being. The look. The shallowness of their lyrics, and weak songwriting in general. On the other hand when you take a band like Turbonegro, who is 100% in on the joke of all-out worship of all things rock, and the over-the-top excess of it. Well, in this context, I actually really enjoy it. A lot of these tracks remind of other bands I’m a fan of: King Gizzard, and Ween when in their hard rock/punk persona. I enjoyed a lot of this ridiculous album. That said, I’m pretty sure it shouldn’t be on a list like this.

Well, I think the band is accomplishing what they want on each track. Utilizing different styles and influences in the layers of each song. I do think they are somewhat limited by the vocalist, meaning each song is going to more or less sound a bit the same based on her singing style. Not my cup of tea but I think they are trying to do a little more than the average late 90s alt band here, and I think they’re doing a decent job.

In 1992, I went away to college. My Dad was really, really strict, and it was very stressful living at home for the last few years. I can remember laying in my bed in my dorm room, with the wind blowing through the open window, and finally feeling relaxed. Relieved. Free. I can remember doing that same thing many times that first semester. Opening the window, climbing up on the top bunk bed, and just being free. Much of the time, I'd throw an album on at high volume while I zoned out. My roommate happened to own this CD. One day, I decided it was a good time for my ritual, and I put it on. I was familiar with Peter Gabriel but had never listened to this album. It was so overpowering and emotional. The sounds created here were so vivid, it's like I could visualize brushstrokes across my vision of the world through my dorm window. I feel like I lived a whole life in my mind while listening to this album. Everything I had been through, what I wanted out of my life, who the important people were for me, where I wanted to go, what I wanted my college experience to be like, who was I outside of my parents' house on on my own, and so on. I was feeling emotions I had never really acknowledged or experienced before. And as I listened to this album today, I was there again. Re-living that time of my life. But now, I listened while knowing what kind of life I've lived and the choices I've made. I realized "Don't Give Up" is a parents' message to their child. And really everything came full circle. I listened and thought of my kids' lives, and what they will do as they grow. And found myself in that zone again. Really truly feeling happiness. It's a beautiful and entertaining album, and one of the few that exist that really take me to another place. So (pun not intended) happy that it popped up today!

Enjoyed some of Disc 2, which was more uptempo, instrumental pickin'. I enjoy that type of bluegrass, which is similar to jazz (in a way). The energy and the musicianship really holds my interest. The slower, more country stuff with vocals, like on most of the first disc, is what I do not enjoy. That really bores me. I recognize that Country & Western music was one of the building blocks of rock n roll (along with Rhythm & Blues and Gospel) and that this is a significant step in the genealogy of modern music. But it’s so. Goddamn. Boring. 2.5/5

This is a great example of separating the quality of the album versus how much I enjoy listening to it. This is my second Nick Cave album, and I can see he is a good songwriter and they are able to accomplish what they want with a track, so I give them props for being a good band. I don’t enjoy listening to most of these tracks, but they’re certainly not garbage.

This album was a lot of fun! Can’t believe I’ve never of this band before.

Good album. I never know what to say about it, I mean, it’s Morrissey. He’s kind of his own sound. He was better with Johnny Marr by his side, but still entertaining.

This album was a lot like Iggy Pop: Really short.

I wanted to like this more based on the Daft Punk I've heard before, but it was just alright. They are creative, and I think we see that more on later releases, but this was fine.

A classic! But haven't listened to it straight through in 15+ years probably, so I'm glad it popped up today!

This is a pretty good album. Iggy/Stooges are always kind of hit or miss to me, but David Bowie's ... Bowie-ness is really present throughout this album, and I dig Bowie. (I understand Bowie was even more omnipresent on the previous Pop album, "The Idiot", which I haven't listened to yet.)

I like The Cure. I think their achievements at their best are remarkable. Really interesting, hooky tunes that stick with you forever. At their worst they are repetitive, droning on with the same dreary idea. This album highlights both. Great tunes like Pictures of You and Lovesong, good tracks like Plainsong and Facination Street, but droning and ultimately boring moments like Prayers for Rain and Same Deep Water. This left me with about a 3.5/5, and being torn as to whether this is a 3 or 4 on this rating scale. But given the overall quality of their work, and the impact of this album at the time, I ‘m going with a four🤯

Some good tunes here. But I can only do the depressing, country-inflected misery songs for just a few tracks on the album. I understand that’s the purpose, so I’m giving him points here for accomplishing what he set out to do. Certainly conveys the feeling he’s going for well, and the lyrics are certainly poetry. Definitely a tearjerker of an album.

Rush is a great band. Such a full sound for three dudes. I enjoy the complexity of their tunes, though I'm not necessarily a prog guy. Limelight is one of my favorite tunes regardless of artist. Secretly hoping I would like this album more, but it was still very good!

I feel like this style plays much better in a more organic, traditional setting. Some of this is a little on the cheesy side, like the smooth jazz side of bossa nova. The final track really worked for me for this reason. 3/5

Rufus Wainwright is so unbelievably talented. So many different styles bubble up in his songs, and that voice floats across the top. Amazing! Love the creativity. Each song is a work of art. Just so easy to get lost in his music! Why a 4/5 you ask? Sounds like I think it’s a 5/5, right? A couple tracks toward the middle of the album were a little more bare and didn’t pull me in. Thought they were kind of average tunes. But the rest of the album was excellent.

Big Star is interesting. I think they are pretty good songwriters, but I’m not sure I always love the finished tracks. I wonder how different these songs could be with a different approach in the studio. I’m aware I’m in the minority on this though.

Always liked Gorillaz but never listed to an album all the way through. Damon Albarn is super creative and I love that he found this little niche, it's right in my wheelhouse. Finally a post-2000 album that belongs to be on this list!

I heard Cherub Rock in August ‘93 when it came out, and slowly over the next year, really absorbed it. It’s energy and Corgan’s way of tapping into your frustrations and rebellion at that age really resonated. That album is an absolute classic. I got into the history of rock and popular music when I went back to college that fall. Really delved into classic rock, jazz, and jam bands. By the time this album came out in ‘95, and Bullet With Butterfly Wings was the first single, it seemed out of touch. The song itself didn’t seem very good, and leaning into Corgan’s limited vocal range seemed like a terrible idea. I never had interest in hearing the album. It sounded to me like he had sold out to everything he was rebelling against previously. This rat-in-a-cage refrain sounded like a forced idea to sell this “rebellion”. I heard Tonight, Tonight, and then 1979. Tonight felt even more like them going pop, but 1979’s pop sensibilities worked for me. In short, I had no interest in listening to this album. Sounded to me like it was made for the pop charts. So now I’m finally listening to it. And … it’s OK. Some good songs here. Some not good songs there. Some tracks that are a little too grandiose or self-congratulatory. But overall it is a perfectly OK album.

Revisiting this album — which I listened to quite a lot in the 90s — I was shocked by how good these songs are. I mean, they’re so melodic, well-produced, and good songs executed perfectly. Sometimes it’s hard to separate the nostalgia when revisiting music from the past, but this is absolutely a masterpiece.

This was better than expected. I did see some Coldplay comparisons in the reviews and while I’m not familiar with Elbow’s catalogue, I did hear more interesting songs through the first 3/4 of this album than I’ve heard from Coldplay.

One of the all-time hip-hop classics. Styles upon styles upon styles is what they have.

This asshole out here pandering like he’s runnin’ for office.

This is absolute garbage and its inclusion on this list should embarrass the authors and editors. It’s this kind of detritus that clogged up the pop airwaves for 40 years. If you’re not going to do anything interesting, get the fuck out.

Look at all those songs. On a debut. For a guy who changed not just how the guitar was heard, but how it was viewed. What it can accomplish. If this isn’t a 5/5, I don’t know what is.

Well, on the positive side, I can see why he was a bit popular at the time. A lot of these songs... I don't think there was an existing genre bucket that these fell comfortably into. I like the sound design in a lot of these. I like the signature drums -- like with Bow Wow Wow -- that are used thru a lot of tracks. The negative is I don't think the actual songs are very good.

I recently was listening to a lot of Eddie Palmieri to try to learn more about the Latin jazz genre, so this was welcome. I was infamiliar with Machito, but the band nailed every track. I just find it hard to rate certain genres that always sound good to me!

Very helpful to put this in context. This is 1969. This is when the White Album came out. Really ahead of its time, and I always thought this was a little later, like maybe ‘72. I’m a fan of prog because I enjoy the composition of it, and the lack of pop structure.However, I very much feel the gaping hole where the soul and the warmth is missing. That said, I do feel a visceral response to the final track, which is powerful. Great album no matter how you slice it though.

Never heard of this band. I would say the album was better than expected! I thought Next was the highlight.

This album is the answer to the question: What would it sound like if David Bowie was terrible at writing songs? I’ll bump them up to a 2/5 for their attempts to be inventive in the studio. … Just mercifully got to the end of this travesty. I take this comment above back. It would be too complimentary. There is nothing Bowie-like here. Sliding it back down to a 1/5.

A very good album. I love so many things about Queen. Far too many things to list here. And yet, I've never dived into their albums, so this was fun. I think maybe some of the deeper tracks will take a little time before I know how much I like those, but I can hear the quality of the production, the inventiveness in the songwriting, the harmonies, Brian May's tone, and Mercury's voice, the genre-hopping... I'm here for it all.

If I’m gonna listen to old rhythm and blues and soul, I certainly would not choose some British dudes’ versions. I get all bands start somewhere but why is this on this list? I wouldn’t put the first 2-3 Beatles albums on here either, because they’re filled with these types of covers too. (But they at least have some originals.)

Better than I expected!

An all-time great songwriter with a lot of gems here. Somehow, no one else really sounds like Carole King.

This is totally new to me. I enjoyed listening. Felt like a film score. It sure made mowing the lawn feel a lot more adventurous today!

Good album, but leans a little too much into the Irish folk sound for my taste.

What I like about the Buzzcocks is that while they come from a punk place, they find interesting, song structures, melodies, chord progressions, and other ways to make each track unique.

This album reminds me of the review for Spinal Tap’s “Intravenus de Milo” album: “They are treading water in a sea of retarded sexuality and bad poetry.“

Great songs excellent recording amazing album five stars

I have yet to find an album by the stones where the deeper tracks are anything special. Love the tracks I was already familiar with from this album, but everything else is more or less boring. And that “Going Home” song… Who could possibly have the patience to make it to the end of that travesty?

This is a fantastic breakup album. Every song is executed perfectly here. Really shows Beck’s range!

I was interested to listen to this album. I really like the song. “Gravity’s Gone” by Drive-By Truckers and had always meant to listen to more. I definitely think they are a good band, and I think they have some good songs here, I like the entire package, but I wasn’t necessarily blown away.

Damon Albarn is someone that finds new sounds. Whenever I’m hearing new songs from Blur, Gorillaz, etc., I’m interested, intrigued, and on board.

I was not familiar with this band, but it continues a trend I've noticed where Australia produces a lot of really good bands! This is a very good album.

I grew up in the 80s and never realized how funky a lot of this New Wave stuff was. That bassline to kick off the first track is funky as hell. Bassline in "Tears Are Not Enough" is slappin' too. Overall, I think this is a good but not great album. 3/5

I simultaneously like and dislike REM. It's really song by song. This album is somewhat weak. I found Ignoreland to be imagination-less. Which is strange because I think I can hear the John Paul Jones in that intro, but then the song just wanders into an area, or space, where it does not get my attention at all. I found it easy to just ... not think about it, or be aware of it. I wish I could think of a good word for that place. Anyway, they followed that up with Star Me Kitten, which also was a low point. Unfortunately the hits were the high points here. The deeper cuts seemed fairly benign. I don't think this album is as good as the previous two, but we'll find out when they pop up on this list (I'm assuming they're on it.)

If you take the Bookends tracks away, and don’t count the song that is just a lot of talking, there aren't too many actual songs here. Those that are there are average to great.

I think a lot of people won’t like this album. But I love unpredictability in music. I don’t want to be able to predict what a track will do next. Wyatt is really totally unpredictable. Here’s what I hear when I listen to this album: adventurousness and vision and an artist’s unique path and sound. I hear a completely original view of what music can be and I love it. Well, most of it. From the few tracks I’ve heard from Wyatt beforehand, and this album here, I really think he’s one of the most underappreciated artists in the history of music. Flirted with a 5/5 for a while but ultimately landed on 4/5.

I remember when I purchased “The Three EPs” release after hearing “Dry The Rain” and being disappointed with how similar all of the tracks were. Hearing this release, I feel like they are working with expanding that sound. So that’s a positive I guess. But I think if ever a band could benefit from a change to their vocal delivery and patterns, it's them. If the music sounds interesting, there’s still those monotone vocals on top which sedates instead of excites. I wrote this^ with three songs left on the album, and was ready to give a 3/5, which for me means "it's fine, but nothing special". However, the last three tracks pushed me, and the final two bored me to death, and I landed on a 2/5. We'll always have that High Fidelity quote...

Hey, this is an album I've never listened to and, as usual, I really dig a Bowie album. I would say there is a *plethora* of good tracks here. I understand there's a bit of a nod to the Stones here with the cover and a couple other tunes mimicking their sound. Whenever I noticed that comparison, I always felt like, "Well, this track is better than a Stones version of this." Even the cover! This is another case where I wish we could give 1/2 stars in our ratings. I think this is a solid 4.5/5. But since I try to leave 5/5 ratings for *perfect* albums, I'll have to give this a 4/5, which seems insulting to Mr. Bowie.

Some of the slow, dirge-like tunes sung by Linda are what I went into this album expecting a lot more of. However, a lot of the Richard-sung tunes -- if you plot them on a line between Folk and Rock -- are closer to Rock than what I was suspecting. There are tracks here with some really cool instrumental fills, and interesting instrumentation in some places, and it helped to bring the album out of the folk doldrums. I explored Richard Thompson a bit years ago. He's definitely got a knack for writing cool, angular tunes, that feature changes I don't expect. However, the slow, death-dirges and Irish folk can drive me insane. So there's a bit of a balance here between sounds that kept me on my feet. The title track was definitely the highlight here. In fact, the first three tracks were all very good, and the rest not so much. I think I might like it more if Richard is singing, or if some of these tunes were delivered more powerfully. All-in-all, comes in around a 3/5 for me, with my respect for RT as a songwriter continuing to grow.

This is a really good album. They effortlessly find grooves I never tire of. And their musicianship is off the charts. They can be a little weird, but it does not detract from the listening experience. 4/5

I see that M&Ps are kind of a bridge between the pop vocal groups and the late 60s rock movement. To me, aside from California Dreaming, which is an amazing tune, this is all out dated and boring now to me. I understand John Phillips wrote many of the tunes, and their harmonies are great, but it is a very limited sound.

I'm not a huge Springsteen fan, but I like some of his songs, I get his appeal, and I recognize his songwriting chops. I find he's most appealing to me ion album form, rather than individual tracks. This is a fantastic album. Just sometimes, the tracks are a little ... over the top. Like Jungleland. It wants to be epic, and apparently it is to many Boss fans, but to me, it's just a little ... too much. Didn't quite nail it. Anyway, solid 4/5. Probably 4.5/5 but damn it, we can't do that.

Speakerboxxx was really good. I hadn't heard the Big Boi part of this before and it was bangin. 5/5. I had heard The Love Below before, and while I love Andre's creativity and musicianship, there are too many skits and forays into weird areas, so it's more of a 3/5, so overall a 4/5.

Alice Cooper is not what people who only know him from his 70s rock radio hits think he is. He's a much better songwriter then people think, and it comes out on about 30-40% of his tracks (that I've heard). Unfortunately, in the other 60-70% he still puts himself in this smaller box confined to basic rock riffs and ideas in my opinion.

Black Sabbath is so interesting. They are indisputably one of the starting points for metal, and I am no metal fan. Yet, their music has very little in common with metal beyond 1980. Cool band. Makes me wonder what Ozzy’s library might have been like if he didn’t leave Black Sabbath or allow his *manager* to dictate his professional choices.

Solid 4/5 based solely on the songwriting.

The Jam are OK. I think there are a lot of songs here that are just that: OK. Good/fine/nothing special. 2-3 were above average. This feels like a 3.5/5 for me, but since we can't do half points, I'm going to go 3/5.

At times this is a great album, other times maybe the thing they're doing has gone a little too long, so other times just OK. But I think totally deserving of a 4/5.

Short album! I'm interested to hear the earlier albums, because I'm not a fan of metal or even hard rock that is getting metal-ly, and I can hear some of that here. The allmusic bio indicated that was not on those earlier albums. I think I'd like them more. In any case, I can hear they're a good band. I just thought it would be better without the metal creeping in.

This is a fine debut album.

They are really great with rhythmic patterns, like certain Animal Collective. Or maybe Beta Band on adderall. Really creative patterns throughout. I really liked this album. Could possibly improve with more interesting vocal melodies.

This was better than expected! I thought the lyrics were well-written, and I’m not sure if it’s supposed to be a concept album, but it seemed like there was a theme about the downside of being a rock star.

There are some interesting things here musically, and it's kind of adventurous to listen and see if Syd can land these tricks. Sometimes he does, but most often he does not. And could you blame him?

Powerful album that absolutely shreds, can pull at your heartstrings, and is produced perfectly. The guitars and the drums sound amazing here. Can even make it sound like Billy Corgan can sing at times!

This is a tight band, but the songs aren't particularly great and dude's voice is rather Muppet/Ray Romano-like. 3/5

This band is highly underrated historically. Every time I listen to them I'm impressed with different aspects of their songwriting. This is an above average album with one of the greatest tracks ever in The Killing Moon.

Well, as someone who is not much of a folk fan, I like that his version of folk a bit. Liked some of the songs and can now understand his influence, as well as his importance, being a connector from Guthrie to Dylan. But I could never listen to 11 songs like this in a row. Had to break it into two listens.

Folk at its core can really bore me. Luckily, Fleet Foxes are doing many musically interesting things here beyond the beautiful vocals. Changing up drum patterns, unexpected chord changes, and overall a really great studio treatment that serves each track really well. When I was in college, my friends and I would sometimes sit around the fireplace when we were feeling mellow, and put on one of the acoustic Alice In Chains EPs, and it just seemed to fit the mood perfectly. This album screams fireplace in a winter cabin cozy.

This is fine. Some reminded me of Crowded House, some R.E.M., especially later in the album.

It is quintessential TW. Bombastic and odd, beautiful and rugged. One of the most interesting musical artists of all time, at the moment he decided to take a left turn when everyone else chose to ride the train.

I'm on board with the music, and after the first track I expected this would probably be a 3/5, but the lead vocals are tough to get past, and the melodies or the lyrics aren't strong enough to help offset it.

More or less I like the music (Bowie) and Pop's vocals bring it down a bit, although some of the tracks drag too. A little disappointed in this one. 3/5

Marvin’s vocals elicit stankface more than any other. I mean, instrumentally this is on point, but I’m just stankfacing left and right during these tracks.

In 2024, this pile of covers isn’t very impressive. I get that on a basic level as white dudes at the time, they’re making these tunes their own in a way. We do hear the genius that is to come in the first four tunes. But in the big scheme of things not an exceptional album IMHO.

Yes, he’s a great MC. Yes, this is VERY different from what came before with the combination of skills, subject matter, and his weird jerky-jerky delivery (sometimes). The beats aren’t anything particularly special on the whole. And horror rap/satirical violence, etc. is really not necessary and brings the overall satisfaction on a listen down.

I have 'no time at all' to write notes recently but great album!

I listened to this. The first TS album I’ve ever heard. It’s not something I’m going to listen to, but within the space where her music exists (meaning she doesn’t veer away from her strengths), she can write songs that appeal to the masses. So it’s not a 1/5. I do think that she could stand to have parts of her songs where there is no singing. She’s singing at all times. Just let the songs breathe a little, you know? 2/5

Hey, even though some of this is a little loose musically, I love the fact that they are trying to do something different. It doesn't take itself too seriously, but it jumps around and has different styles and personalities throughout which makes it fun. It kind of reminds me of Pixies in terms of its complete disregard for convention. Like, they're just doing their own thing and for the most part, that works for me!

I've been on the fence about Dire Straits for a long time. There are definitely songs that I love, and I love to hear Knopfler's guitar. That said, other than the first three tracks, I don't clikc with this album. "Your Latest" sounds like a 70s TV show theme song. "Why Worry" was frustrating because it should be a cool jam/outro, but they never hit it! They just keep repeating. Perfect opportunity for Knopfler to take flight and soar over this. He doesn't start noodling until there's less than a minute in the track which is disappointing. I'm realizing this is something I don't love about Dire Straits. Their use of space. They leave too much space where there is nothing really happening for long periods. This track has a very cool, ethereal sound and they just don't do anything with it. Knopfler walks the fence on old folk songs a lot too, and he is what he is but it's disappointing. On "One World", a weird disco-through-Dire Straits-lens tune, we finally hear Knopfler's guitar start to take center stage for the first time since early in the album, but it's just for a minute and he's still holding back. I don't think I've ever come across someone so talented who can just keep it in his pocket 98% of the time. I understand that's his choice as an artist, and he often focuses on subtlety, but it makes it kind of a disappointing experience.

Haven’t listened to this album in 20+ years. Good to hear it again. He was a talented songwriter, with his own recognizable style and techniques.

Entertaining album. I thought it got a little long though.

What a perfect album! It is impossible not to get hyped when the drums kick in at the end of Aja... That is the most painful fade in the history of recorded music.

I’m like The Cure but I found this to be one of the least engaging albums of theirs.

Fun, spacey, and at some points kind of accidentally hilarious thanks to Syd's warped lyrics. 4/5

Me at the start: I guess I have to listen to this. :shrug: Me 34 minutes later: I WANNA LOVE YOU!! P Y T! PRETTY YOUNG THING!!

Unbelievably talented, and the production work here made her a star. I actually like the tracks better here than on her next album. I hear the sounds of 90s R&B and hip-hop, reggae and dub, all with jazz and old Motown and soul. It’s an attractive package all around. Her frank — no pun intended— lyrics are part of what made her popular I would guess. At the same time, one area where this album fails is the subject matter becomes quite repetitive throughout the album.

Solid Southern rock album. In the late 80s/early 90s, there weren't really any other significant bands making this kind of music. For them to have the success they had with this sound in that time period, it shows how good they were at their craft.

Should be noted. He only wrote four or five of these 16 songs. Is his performance so amazing to be noted as a great album? I don't think so. Folsom Prison Blues is a good song but I'm leaning toward Johnny Cash being one of the more overrated artists in history after listening to two of these live from prison albums.

Thought I heard some similarity to Peter Gabriel in some tracks. Not something I would listen to personally, but I think this is well made and would appeal to some listeners. Definitely respect finding these various sounds they are building some of these tracks around.

I don't know what it is but I am always underwhelmed by Roxy Music. "Avalon" and "More Than This" are OK background music or for studying or sleeping or something. Otherwise I find them pretty meh. Highlight here is "Out of the Blue" which has a Bowie-ness to it.

Common would be better if he acknowledged that he's rhyming over a beat. It's like he writes his rhymes before he's heard the beat, and then just says says them regardless of how it flows over the beat. He was one of the early rappers to flow off-beat, and it became popular and then rap fell off a cliff. Rhymes and beats should fit like puzzle pieces. I will die on this hill.

One of the greatest voices in music history!

If I were a heartless monster I might say, “No wonder Nick Drake chose to take his own life. It was the only way he could escape his music.” That is terrible so I take it back, of course, but I admit it made me giggle.

What can you say? Dude knows how to create a hooky riff.

Some days I think this project is trying to torture me.

One of the beautiful, serene, and otherworldly albums ever recorded.

I don't understand why everyone loves this band so much. In many ways they're Coldplay by way of Brooklyn. I mean it’s kind of the same throughout, not that they sound alike.

This band really has a feel for writing irresistibly hooky pop songs. They're not all winners here but I enjoyed most of the tracks.

Four songs into this, I was surprised at how much I was enjoying it, but the longer the albums went on, the more trite and desperate it seemed to get. I liked some of the trip hop elements earlier in the album.

The ease of sliding between pop, R&B, soul, and funk is always impressive.

Oof. They really could've picked a shorter album for this.

Didn't love any of the songs. Did hate a few, so title is half accurate.

This album feels different than the 3-4 other Traffic albums I've heard. Seems less Wynwood-y, less psychedlic, less adventurous. I thought it started and ended strong, but withered in the middle. 4/5

One of those pleasant surprises that pop up every once in a while on this list. Some cool sounds. I hear Talking Heads, Police, Echo & the Bunnymen. Tough to have your own sound and not have all your tracks sound the same, and I think they accomplish that here.

Back when women in country had a backbone.

Never been drawn to this band, but they at the very least can put together some good tracks. "The Only One" is a highlight here for sure. 4/5

I think Randy Newman has a recipe for songwriting that works. At the same time, I think Randy Newman uses the same recipe every time, and that gets old quick. Like, it's not bad, but it's so predictable. I like some unpredictability in my music. I don't want to be able to predict the next rhyme, or where the music will go next. If I feel like I'm ahead of what's happening, why listen?

This album made me realize that maybe I don't like Big Star as much as I thought.

Real highs and real lows on this album. A lot of the songs are minor with a descending progression and gets little repetitive.

I understand this came early and the Stooges and them were some of the first proto-punk, so hey, congrats on being there before others. But it's not enjoyable to listen to.

I'm not crazy about this era of the Temptations.

This album shows off JW's ability to write a catchy tune. And there are some great ones here. However, others seem like he has just one part of a song, and that's all we get here. 3.5/5 is probably the right number, but can't do that here. I'll lean to 4.

One of the better encapsulations of the Beastie Boys versatility across hip-hop, funk, and punk, and all stops in between.

This is one of those "All we do is write catchy pop songs" albums (and that's a good thing). They remind me of Big Star, Cheap Trick, Paul Westerberg, etc. This was a pretty good collection of tunes!

This is rock music for 12-year-olds who think they're edgy.

As usual, a boatload of all-time, incredible tracks here, however, also quite a few that aren't particularly interesting, like "The Rover", "Boogie With Stu", and "Sick Again". It's funny. When I hear a Zeppelin song that I'm not completely blown away by, I feel very confused. Like my brain can't understand why the song I'm hearing isn't better. It happens to the best bands. Everybody has a few clunkers.

They are fine as a band, but I would definitely like them better if they didn't consistently lift from other artists. I'm hearing Stone Roses on two tracks, at least three Beatles melodies/chords (including Lennon solo), and that egregious REM theft.

Great concert. I'm not a huge Cheap Trick fan, but there's no denying they were a great live band. I just don't love their songwriting all that much (aside from Surrender). Drummer driving nearly every track here. Rick Nielsen is a great guitarist but not too high up in the mix and is lost in the sound quite a bit.

A far more engaging electronic album than The Prodigy album of the same year.

Not exactly what I expected. Each track definitely full of inventiveness, and while I didn't always love the end result, that original approach to each track is worthy of admiration.

This album gets better every time I listen to it.

Surprise 4/5! If you put the 80s production/sound to the side, this album has some great songs and the rest are good. They don't necessarily all sound the same either. A great pop album for the era!

Amazing album.

Perfect in every way.

Fuck yeah. I slowly discovered over the last decade. I heard Tightrope and Dance or Die and loved those tracks. Eventually I listened all the way through and was shocked by the variety of styles here and Monae’s commitment to each. Add the overall concept of the album, and it’s really a cool piece of work!