This is the day…that I admit to owning this on cassette. While the music itself is pretty light, when coupled with more literary heavy themed lyrics it makes for a more interesting tension-driven sound IMO. I place this more in the category alongside bands like Soft Cell (“Tainted Love”) or even early Love and Rockets or New Order. And I’m sure I broke curfew at underground dance clubs with this playing in the background. The variety of instruments featured (especially the accordion on “This is the Day”, and the piano on “Uncertain Smile”) indicates an even wider variety of influences, and yet the album doesn’t stray and remains in tact. Sm(art) synth pop that is essentially a debut solo album. Great band name too.

I hated Steely Dan then and I can’t stand them now. I would yell from the back seat of our Ford Grand Torino wagon to change the radio push button as soon as these songs reared their head, and as an adult I still never got past the first measure without turning the dial. Known for taking forever to record their records while in pursuit of sonic perfection, SD ironically produced pieces of work like Aja that are simply boring as hell. I would expect my rock n roll friends to punch me in the face if they ever heard me listening to this yacht rock drivel. In 1977 there were so many more exciting bands happening from Cheap Trick to The Ramones, The Sex Pistols, Elvis Costello, The Jam, The Police. Hell…too many to name. The single one positive on this album is the bass being provided by Chuck Rainey whose list of albums and artists is also too long to name.

I was always aware of The Fall, but somehow missed them. Which is even more surprising given they had 31 albums from the time they began thru 2017. Clearly operating as a true underground cult band. I found this album a bit scattered, most likely due to the caustic and erratic vocal stylings. But did enjoy its simple post-punk feel overall.

The only crime of the century was having to slog through this. While I can appreciate the production and ideas, I felt I was listening more to a new musical only because “Jesus Christ Superstar” was sold out. This was as if ELO and Moody Blues had a kid but deep down probably wished Meatloaf was the father. Clearly an example of all the concept albums happening at the time. I was always a much bigger fan of their later stuff like “The Logical Song”, or “It’s Raining Again” or even “Give a Little Bit” (which oddly enough was covered nicely by the Goo Goo Dolls).

Clearly a good songwriter and even more clear that he was influenced by the early 70s Beatles sound. Interesting that a number of these songs made there way into American pop culture too whether it be TV or movie montage scenes. And while I can appreciate the balance of quirky with serious…not my bag. An appropriate album title for my taste.

A very nice listen. Clocking in at just under 44min with only 5 tracks, and yet the songs and entire album pace well. Even though saxophone seems to be more prevalent throughout, all players feature nicely adding to the listening experience. Just four dudes in the same room pushing play on the record button. Dig it.

Like listening to one long stream of consciousness I imagine this is what the inside of Thurston Moore’s head sounds like. Although I was more a fan of their 1990 album Goo, this album had regular rotation for me in the 90s. The experimental, moody, hazy and moments of discord clearly give a nod to SY’s influences like the Velvet Underground. And it’s hard to mention bands like Nirvana without giving a proper nod to this band and album as it clearly became the model which multiple bands in the 90s drew from. While not an album that would get repeat listens from me today, it definitely deserves the higher score simply based on its influence. Avant garde art rock at its best.

This album was always my favourite Beatles album. An easy 5 score especially because of the stylistic variety between the songs. And yet that variety does not take away a cohesion.

This was a very pivotal album for me growing up, and much like an appearance on The Simpsons…when a world renowned band covers one of your songs, then clearly you’ve “made it.” Check out REM covering the track See No Evil.

I’ve tried mightily to be more into PJ over the years, but alas I just never really got her. When it comes to female art rock artists I will almost always lean way more towards those placed in the same category as PJ, and who I find way more interesting: Bjork, Mazzy Star, Siouxsie and The Banshees, St. Vincent, etc. I did find the production on this album quite interesting though. Still, her 1993 album Rid of Me probably deserves way more credit. 2.5/3

It’s hard to imagine this album being over 50 years old given its somewhat timeless storytelling feel. With obvious religious imagery woven throughout along with odd time signatures, unique song structure, and melodic folk rock stylings, it’s strange to think just how impactful this cerebral concept album was. And yet no matter how many times he presented himself as the codpiece wearing wild eyed court jester, Ian Anderson made the flute cool. Or did he? Hard to say. The guitar work by Martin Barre is very progressive for the time and the flute solo alone on Locomotive Breath gives the song the banger merit it deserves. But when Ron Burgundy whips out a flute in Anchorman and plays Aqualung in an impromptu moment, is that just good music direction…or further evidence that Tull were never taken seriously? Probably the latter. I actually now prefer their follow-up album Thick As a Brick more, but this album deserves its place due to influence alone.

This album generates lots of emotions. It was ubiquitous for many months I imagine based on the release timing right after Cobain’s death. But damn this was played everywhere all at once. Especially “The Man Who Sold the World.” While not really an unplugged album (more of a live acoustic one) it’s pretty cool to hear new and different sensibilities in the songs. Proof that the songs are just that: good songs. The stripped down feel also allowed for pure raw feel in the vocals which was cool. And there’s also some musical happy accidents that occur which only further cements the human aspect on display.

I had trouble getting through this one. And while I was familiar with earlier hits like “Spill the Wine” when Eric Burdon from The Animals was involved, I’m mystified at how this album was Billboard’s top seller that year.

This album generates a lot of memories for me. Whether it be sneaking in to see the movie at AMC when clearly underage, or slow dancing a little too close to the title track at my 8th grade dance and not giving a sh*t what the nuns thought. This whole album oozed sexuality, and laid the foundation for teenage fantasies as well as future parental advisory disputes with Tipper Gore. From back to front every track is solid. And it’s fascinating to know that the last three songs on it have many tracks that were kept from live shows. Especially the title track with a lot of content apparently taken from a 1983 performance. 80s synth pop at its best.

This is the day…that I admit to owning this on cassette. While the music itself is pretty light, when coupled with more literary heavy themed lyrics it makes for a more interesting tension-driven sound IMO. I place this more in the category alongside bands like Soft Cell (“Tainted Love”) or even early Love and Rockets or New Order. And I’m sure I broke curfew at underground dance clubs with this playing in the background. The variety of instruments featured (especially the accordion on “This is the Day”, and the piano on “Uncertain Smile”) indicates an even wider variety of influences, and yet the album doesn’t stray and remains in tact. Sm(art) synth pop that is essentially a debut solo album. Great band name too.

I’m sorry to say that this album needs way more gris gris to help it be less shit shit. Hell…yer gonna find way better sounds of ‘Nawlins listening to zydeco of Beausoleil, Zachary Richard, Wayne Toups, etc. or frankly just walking in a haze down Bourbon Street or catching pop-up street players in the Frenchman Street area. The secret to a good gumbo is in the roux, but if you don’t keep stirring, it turns into a clumpy mess…which this is. Random noise to accompany a ritual voodoo sacrifice I guess? I have no idea. Regardless, the fact that it made the top 500 of all time list is laughable. I’d rather listen to Dr. Teeth and the Electric Mayhem.

I had never listened to this all the way through front to back. Really dug it. The feel of it clearly continues where Suffragette City left off, only more so. And the noted American influence is interesting given it was his US tour that provided the backdrop for when the songs were written. This is a velvet goldmine of glam bliss.

With A in C making waves on the Seattle scene before the rise of Nirvana, it’s surprising to me how little I listen(ed) to this band. I was more a Screaming Trees fan. But…they definitely created their own style with the droney vocals and guitar stylings, and yet it’s those very things that had me struggling to get through this one. Most songs sound very much alike outside of the hits Rooster and Would? Due to its influence alone this one still gets a 3 from me.

Definitely a taste of what’s coming soon, albeit with more disco and funk. Other than a few songs 2/3 of the way through that aren’t as strong, the album still cooks. I always liked this one, especially since it provided the soundtrack for me during many nights at the roller rink. Terry cloth shirt: check. Pocket comb: check. Speed skates: check. Infectious grooves: check.

Orange you glad you only had to listen to this just once all the way through?

While an overall decent sounding album, the production and arrangements for some songs definitely speak to that 80s sound. A little too much sax here and there. And on more than one occasion if I closed my eyes I could’ve sworn I was listening to a montage scene from any mid-80s romantic comedy like Romancing The Stone or similar. Interestingly the title track was not available for listening. I didn’t wanna run away listening to this, but it also didn’t wanna make me get up and make that 2nd classic martini of the night. 2.5/3.

For 5+ decades we’ve been told that Dylan is an amazing artist and because of that we’re supposed to like him. Yes he is a great lyricist and songwriter. But a singer he is not, and listening to an album of his front to back proved that. His “style” is grating when you hear it for 60+ minutes. When EVery SOng HAs that SAme EMphasis ON EVery WOrd he SINGs. Nothing short of annoying and it takes away from the musical landscape of the song. Plus, settle down on the use of harmonica. I like that this is one of the three full band albums he made that gave the proverbial finger to all his folk purists, but it really only earns a 3-star for its influence on other artists.

So basically this album provides the template for the four rules of life: a.) to get it on b.) To keep getting it on c.) to learn how to ball in order to maintain one’s on getting and d.) because if not, you sure would not have kept one satisfied. What else does one need?

It’s a long way to the top if you wanna…play jazz. But this album is a great example of what many artists can’t do: perform live! The commentary in between was interesting and made you feel like you were there. And the players were top notch. Like cool, daddio!

We’re gonna need a bigger boat to reel this whale of forced art rock in. Some cool production here and there gets masked by too many elements colliding leaving very little breathing room to find melody or hook. If a Jackson Pollack painting made sound I imagine this is what it would be like. I’ll find my indie art rock elsewhere with the likes of The Talking Heads, XTC, etc.

I’ve been a fan of k.d. since the Absolute Torch and Twang album that was just one year after this. While clearly the song choices speak to a sub-genre, she has always been able to bring these old school sounds into a more popular market while at the same time embodying Patsy Cline. And her vocal control is masterful. Recognising this is probably a hard sell for most folks, you can’t deny her talent.

I was wanting to like this, but I found the screamo vocals just annoying. And the compressed guitar sounds were predictable and now quite outdated. I’m truly dumbfounded as to how this album and artist received such attention throughout the 90s. While the lyrics are pretty effed up, today they would probably just pass as adolescent. I imagine this is the music you use to take hostages or torture people to. Shock rock then, schlock rock today.

After a solid first track I really wanted this to be eligible for higher rating, but the following tracks don’t really stand out. It’s a decent listen, and the production is quite good. But alas…

If you build it they will come. Clearly the album that influenced so many future bands. This thing is so beautifully perfect in its imperfections. Tempo waivers, string drags, vocal cracks…and yet who cares. And the way it was recorded live from the floor makes it even more badass. Close to a 5 in my book.

The three part harmonies are of course the standout, and they make it sound effortless which is not an easy task. The hits are hits for a reason. They’re memorable and very recognizable. The other tracks while pleasant are not as. Still, an iconic album that opened the door for so many more artists of that famous Laurel Canyon sound.

Taking a page from the book of Irish/folk tunes of yesteryear, these guys continue the practice of providing happy melodies with words of sadness, loss, tragedy and murder. I mean who doesn’t love a good yodelling murder ballad? A little repetitive sounding all the way through, but enjoyable nonetheless. I almost wanna give them a 4 based solely on their album artwork from 1959’s album Satan is Real.

Known for being a volatile dude with an angry temper who believed in collective improvisation, Mingus gives us a good example of art imitating life on this one I suppose. Maybe I would’ve enjoyed this more while watching the ballet for which it was written. Too erratic for my taste.

And on the 8th day God created Black Sabbath Paranoid. He looked at his work, smiled and then rested knowing there would never be another.

A super sex laden space journey of rock n roll genius. This is just any amazing album from front to back and its relevance remains over 50 years later.

While a bigger fan of Surfer Rosa and Doolittle, I think this album still paced well. It was nice to hear more melodies and tempos amongst songs and you can tell by this 3rd outing the band had really come into its own. They remain the kings of the loud-quiet-loud model for song crafting.

Ignoring the obvious 80s style and production here, I actually found myself enjoying this one. Clever use of some samples and sounds. But damn, I don’t need to be told that you are the Q-U-E-E-N on every song. I get it. Still, it’s a nice statement record and it clearly opened the door for future female rap artists.

I hated Steely Dan then and I can’t stand them now. I would yell from the back seat of our Ford Grand Torino wagon to change the radio push button as soon as these songs reared their head, and as an adult I still never got past the first measure without turning the dial. Known for taking forever to record their records while in pursuit of sonic perfection, SD ironically produced pieces of work like Aja that are simply boring as hell. I would expect my rock n roll friends to punch me in the face if they ever heard me listening to this yacht rock drivel. In 1977 there were so many more exciting bands happening from Cheap Trick to The Ramones, The Sex Pistols, Elvis Costello, The Jam, The Police. Hell…too many to name. The single one positive on this album is the bass being provided by Chuck Rainey whose list of albums and artists is also too long to name.

I had no idea who Solomon was until hearing this one. At moments sounding like Sam Cooke, Otis and Aretha all wrapped up in one, it’s interesting that his popularity has not sustained like all those other contemporaries of the time. Even more fascinating is the amount of record labels he was signed to: 17.

It was nice revisiting this one again. I’ve been an Elliott fan ever since his song placements in Good Will Hunting. I like his earlier stuff like Either/Or better but this one still holds up. An added bonus is having one of my favourite drummers (Pete Thomas of Elvis Costello & The Attractions) featured on three songs. It’s so interesting to see how such a troubled soul could produce such lovely tunes.

I’ve only heard songs here and there over the years from Beach House and always found them enjoyable. Listening to their album front to back confirmed for me that their whispy, dreamy synth rock remains pleasant, yet strangely forgettable. This album will probably find its way into my background music catalogue.

This was the Rush album I grew up with. Hearing Tom Sawyer and Limelight on the radio was an everyday occurrence. They were ubiquitous. And yet the band itself remained somewhat mysterious. Playground discussions of Peart’s drum solo on Tom Sawyer and the morse code opening of YYZ were routine. Some interesting nerdy production choices on this one: every time Peart grabbed a drum roll, instead of mixing/panning the toms traditionally from left to right, they were mixed/panned from right to left almost as if to match the visual of what would occur if the listener were watching him live. Masters of their instruments, it’s still pretty mind blowing today to know that these sounds were being performed by a trio.

The only song I ever knew from this band was in fact the lead single “Metal Mickey” off this album. And the rest of the songs did not disappoint. I thoroughly enjoyed this from front to back which I have not said much about other albums in this exercise. Strange how this and many of their other albums did quite well in the UK, but didn’t have near the impact in the US. And yet their fellow Brit-pop contemporaries Oasis, Blur, etc. did not have the same fate. I will definitely be visiting more of their catalog.

I remember buying this on vinyl when it came out so full disclosure, much of my review probably leans heavily on nostalgia. Still, the 1988 timing of this album is pretty pivotal right at the peak of hair metal. And yet 3 months later it was already platinum. Don’t get me wrong, I loved rokken with Dokken like the rest of ‘em, but there was something that always stood out for me with this one. Most likely rooted in its simplistic approach, both in songwriting and production which completely went against the over the top glam of the time.

It’s been a long time since listening to this one. The variety probably speaks to the come-and-go style that the recording sessions took on, with the entire band rarely playing together. Or maybe it was all the heroin that Richards was using. Either way there are still some straight up rockers on the front end, with the back half sounding a bit slow in places. Still probably places in my top 3 Stones albums behind Some Girls and Tattoo You. 3.5/5.

Simply confused. How did this white guy/jazz/RnB easy listening make it so far? I distinctly remember hearing “Holding Back The Years” everywhere. And it definitely took up much of my already limited time watching MTV just hoping I’d hear Twisted Sister just one more time. But in all seriousness, this reminded me of the much better debut by Terence Trent D’Arby that would come two years later, and I’m betting makes its way into this 1001 list. 1.5/5

An aptly titled album given the twisted logic it would take to convince me to like this. Better than the Aja album, but still lingers in the WTF category for me.

If I ever fall out of a window and become a paraplegic, I hope I can make music like this. The opening track is strong and the album as a whole feels like he took up residence inside the mind of Frank Zappa complete with odd arrangements and chord choices yet also containing a tongue n cheek feel in places. I’m not even sure what I listened to, but I dig it. I found it strangely interesting and even beautiful in places.

The vocal performance alone puts this on the higher side, but at times the songs all start sounding alike. Whether that be a patterned approach where every song has her starting soft only to then jump to belting it out, or the dramatic production. It sure would be nice to hear more with just her and a guitar or piano like on “Send My Love” as her voice is quite suited to that stripped down intimate feel. The last track “Sweetest Devotion” was one of my favorites. Still, overall a solid album that I will probably eventually forget about.

The Bland. While yes their music might make the listener feel right at home on a sweaty porch drinking a Dixie beer or as Kevin Kline’s understudy in The Big Chill, but I simply never got it. And this collection of sound-alike songs of southern snooze rock did not change my mind nor make me reach for that second beer.

I will always be a Marley fan. Whether it be active listening or playing in the background, his music knows no boundaries. While I am more familiar with his Uprising album, the social and spiritual aspects of his music are the common thread throughout his catalog, and they are ever present on this work too. Pass the doobie from the left hand side and enjoy these positive vibrations.

Seeing Iggy Pop in 1987 on the same bill with The Smithereens, Ziggy Marley, Guns N’ Roses and INXS is hard to top. Unless of course he were to wear see through clear cellophane pants the whole show, which of course he did. A departure from his highly influential Stooges period, this album overall did not disappoint. “Turn Blue” was a bit of a slog, but the rest I found enjoyable. Especially “The Passenger” which would be covered most excellently ten years later by Siouxsie and the Banshees. The biggest puzzle to me is the cover art photo, which looks like something you’d find on an employee badge for someone who didn’t finish his TPS reports. Still, I’ll be revisiting this one.

This is how I like my glam rock. Short and to the point songs covered in a power pop glaze. I had never listened much to T. Rex outside of their hits like “Get it On”, but I really liked this album. There’s some sonic similarities with fellow contemporaries Ziggy Stardust and Roxy Music which is not a bad thing. I see now why T. Rex is cited as an influence for so many artists.

This was a rockin good album. I was pleasantly surprised to hear as many hard rock guitar forward riffs and runs and no doubt Brian May’s sound is noticeable immediately. As is the clear talent of the other members. There were a few songs that felt like filler but overall this is just a solid rock album.

As a fierce REM fan, I remember the day this major label debut dropped. We were all mortified that they had left the cool indie world of IRS Records to jump the shark into corporate rock of Warner Bros. These wounds were softened a bit when I learned that they did not choose the highest bidder, but instead chose WB due to maintaining 100% creative control. Still, with this move I had to accept the fact that the whole world would now know about this little band from Athens, GA. One of my favorite bands would no longer be an underground hidden kept secret. Seeing them from the front row on this tour made me like the album more and even today Green probably sits just outside my top 5 REM albums. It’s a really eclectic album that was known to be the result of the band trying to write some “dumb pop songs.” And on tour Stipe was adamant about introducing “Stand” every night as “the dumbest song ever written.” An irony lost on a lot of folks. “World Leader Pretend” was always my favorite song and was interestingly used a lot during the ‘88 Bush/Dukakis presidential run. A song that is probably even more relevant today.

This album would’ve been on heavy rotation in the decadent club scene of the early 80s. Influential then yes. Relevant today? Probably not. Hell, I probably heard Tainted Love for the first time after sneaking in to Dallas’ famed Starck Club. Impressive that it was all made on a shoestring budget using a few synths and drum machines. Still, I don’t think the album holds up as much today. Outside of the obvious hit track, there were really just a few others that were my go-to. Say Hello, Wave Goodbye is one, and David Grey does a really nice cover of it too. A 2.5 rounded up just for memory sake.

I was always aware of The Fall, but somehow missed them. Which is even more surprising given they had 31 albums from the time they began thru 2017. Clearly operating as a true underground cult band. I found this album a bit scattered, most likely due to the caustic and erratic vocal stylings. But did enjoy its simple post-punk feel overall.

Can I get a partial Amen? This was a nice listen and one I’ll probably return to. The hits remain the standout. And while I did like the country, gospel, soul mix of sound, it’s just a few short of earning a full Amen. You can hear the change in sound starting of what would eventually become Vegas residency Elvis, but unlike Elvis himself a few short years later, it’s not quite overblown (and overweight) just yet.

Speaking words of wisdom…let it bleed. The bookend hits on this one are timeless, but some of the tracks in the middle seemed a little repetitive for me this time around. Interesting to see that the fiddle on Country Honk was provided by Byron Berline, a well known player in the Texas style fiddle scene, who would later find success as part of the Flying Burrito Brothers. You can’t always get what you want on a Stones album, but at least you do get some solid rock n roll.

Outside of the hits I had never really listened to Thin Lizzy. On the controversial topic of whether this was truly a live recording, I would probably side with the producer. Unnatural crowd fades as well as moments of no noise at all during songs with space kinda support the fact those parts were studio overdubs. But it was still an enjoyable listen. And the twin guitar’ing really defines the band. More like…Somewhat live and somewhat dangerous but still rockin’.

Interesting album artwork. Even more interesting sounds. I enjoyed listening to this record. You can definitely tell that it has Brian Eno’s hands on it, no doubt why it probably gained more attention. If this is the music featured in life’s cafe I’d definitely like to go there.

Outside of Velvet Underground, I never paid much attention to Lou Reed solo. But this was a very cool listen. Perfect Day and Satellite of Love were nice re-visits and the Bowie/Ronson production is very apparent given some similar sonic styles appearing here just like the Bowie albums themselves during this same time period. An easy 4 for its uniqueness, influence and staying power.

A pretty enjoyable listen. More so on the front end than the back where I thought the album was a little tired. Overuse of sampling and occasional F-bomb drops I think make this venture slightly into pretentious land, but that was probably a sign of the 90s time.

It’s nice to hear how much this album still has staying power today 25 yrs later. Many artists today can take a page from Smith when it comes to making records with a minimalistic approach. The production here is interesting and many times uses empty space itself as an instrument. Even more impressive that Smith plays all instruments on it. Remains my favorite album by him.

This was a listen down memory lane. Overall it’s the music and beats that drew me in and really do show Dre’s production talent. But the unnecessary overuse of certain “words” in every song makes this a pretty tired album that wouldn’t pass by today’s standards. It’s clear that Snoop had lyrical talent with creative rhythmic delivery and word choice, and it would’ve been nice to see that more here.

I never understood how this band routinely received such high reviews, and this listen did not really move that needle for me. There were a few standout tracks, but for the most part the album lacked cohesion and really just sounded like randomized sounds being thrown together. I will probably continue to find my art rock elsewhere.

When a 9-year old kid rides his BMX bike up to the used record store with the intent of buying this album and KISS Alive…and succeeding, I’m not sure what else matters. As one of the greatest live albums of all time, Budokan became the musical foundation for so many youths including myself. It’s hard to be brief when discussing this album given its incredible influence, and because it would set the stage for bucking tradition and offering such a large alternative to the disco and yacht rock of the time. The live versions of “Surrender” and “I Want You To Want Me” upped the irons more than their studio cuts. And the fact that “Hello”, “Big Eyes” and “Goodnight” still get played today with the same freshness only solidifies this band as leaders in the power-pop pantheon. This record simply speaks for itself and is a true banger knowing it was performed by four dudes in their late 20s. The Beatlemania these guys experienced in Japan is so strange given that they were only together 5 years by the time of this recording. And then only to have their success boomerang back to the US who didn’t give them much attention to begin with. A perfect story for a band carving their own new territory. Robin Zander’s pipes were and always will be amazing. And Bun E. Carlos’ drumming is clinical. There is not a weak song on it which is why Cheap Trick remain to this day one of the most fierce and tight touring bands.

If Sophocles were a music producer no doubt this would be the theme music of Oedipus Rex. You can just imagine him walking around Thebes with this playing and him saying “yeah, I killed my father and mounted my mother! You fuckin plebeians got a problem with that?” Still…this was a tough listen and certainly not worthy of making the list. Interesting yes. Strange yes. And I appreciate the Nick Cave connection with Adamson being a former member of the Bad Seeds. But nothing I’m gonna repeat listen. Schmoedipus indeed.

This is my kinda jazz. Melody, melancholy, wistfulness and a bit of wit all wrapped up into one nice package. All the while sipping on a classic cocktail. A great entryway into exploring more of her material.

It’s essentially impossible to measure up on a complete album when the iconic Immigrant Song is your opener. Probably one of my least fave LZ albums, but I still found it pretty interesting from an artistic standpoint with obvious growth of the band venturing into more acoustic instruments and style. Some numbers were way too bluesy for me but I did like the use of mandolin and banjo, etc.

When I bought this album the week it came out I had very high expectations and hopes. Primarily driven from my love of the band’s previous efforts. Most notably their 2nd album “Love” which produced such timeless numbers as “She Sells Sanctuary” and “Rain.” But I was confused then and remain confused today why the band would make such a drastic stylistic change given the breakthrough success of Love. Billy Duffy’s guitar work is always great but I think this was a failed attempt to change their sound and probably only makes the list due to the Rick Rubin tie in, who was known for literally matching the guitar tones to those of AC/DC and Zeppelin when the sessions were underway. Giving it a 3 because admittedly they did rock on these numbers when I got a chance to see them live.

This was a solid album. Good songwriting and nice melodies make it standout amongst Brit pop/rock. Twelve songs with a total run time under 48 minutes and a good variety ranks it even higher for me. Makes perfect sense that they have label connections to the Lightning Seeds and Noel Gallagher as some moments in their songs definitely lean into that sound which is not a bad thing at all. One of a handful of bands so far on the list that I knew nothing about, but that I will be revisiting.

It’s clear that by the time of this album the Bunnymen were nearing their peak. And some would argue that peak would not be reached until three years later with Lips Like Sugar. But The Killing Moon remains to this day a top song on many “best of” lists including my own. The variety and expansion of instruments on this one elevates it and further cements it and the band as one of the more unique standouts at the time. Ian McCulloch’s voice continues to be one immediately identifiable and in a sea of 80s new wave, punk, hair metal this album set a new standard and rose to the top as a true alternative.

The question is: in 1974 how much more punk could you be? And the answer is: none…none more punk. Especially because you invented it with this album. Simple. Short. Influential. Legacy. The fathers of punk rock, and a blueprint for so many future bands in punk, indie, rock, metal, you name it. Anything other than a top rating would be punk rock sacrilege.

The opening track almost serves as a passing of the torch. You can hear Roger McGuinn passing the jangly Rickenbacker right into Tom’s hands which would go on to become Petty and crew’s signature sound. The two radio hits alone merit high marks for this one. A great debut for one of (if not the) greatest American songwriters of our time.

I liked this and I’m not even fully sure why. While it was a little too long for my taste, I did like the production. It’s almost as if it takes the listener to a place you’ve never been before while simultaneously asking the question: did you ever leave in the first place?

Add another one to the “why did this make the list” category. I mean I guess I liked it because it incorporated some real instruments with electronic, which added a more human aspect to it. But the music was forgettable. What happens in Vegas will definitely be staying in Vegas.

Following Mike Damone’s five-point plan from Fast Times at Ridgemont High: 1. "You never let on how much you like a girl. 'Oh, Debbie. Hi.'" 2. "You always call the shots. 'Kiss me. You won't regret it.'" 3. "Act like wherever you are, that's the place to be. 'Isn't this great?'" 4. "When ordering food, you find out what she wants, then order for the both of you. It's a classy move. 'Now, the lady will have the linguine and white clam sauce, and a Coke with no ice.'" …and most importantly… 5. "When it comes down to making out, whenever possible, put on side one of Led Zeppelin IV."

I guess I’m experiencing my own miseducation on this one. While there are a few songs that rise above most of the others, there were not many major standouts. It’s a bit long, most of the songs hang at the same tempo, and the overuse of the teacher v. student classroom samples I think helps lessen the impact of the intended message. Still, it’s obvious how talented Ms. Hill is and no doubt future female hip-hop/rap/soul artists would not be where they are without this record.

It makes sense that this one runs a close second in popularity to Legend. The vibes are very much alive here and the two Peter Tosh sung tunes were also a nice standout. Hard pressed to rate any Marley album lower than 4 stars. The fire has been caught and is burning bright.

These guys sometimes seem to get lost in the conversation about the Seattle scene with the meteoric rise of Nirvana, Pearl Jam and Soundgarden, but they clearly were setting the stage before anyone with this first grunge album. You can definitely hear them channeling everyone from Black Flag to Iggy Pop to Sonic Youth to even some Hüsker Dü sprinkled on. The drums alone drive this sucker and the album seems so much bigger than just 6 songs. Sometimes you don’t need anything else than some fuzz and muff in order to rock.

1001 listens to an album you must hear before you grow up. This was one of the first cassettes I ever bought and helped me realize how uncool I was…until I of course went to Chess King and bought my own sleeveless DL Union Jack t-shirt, checkered bandana and parachute pants to complete the rock n roll package. After that my path to coolness was just fine. Upon relistening I didn’t realize how much synth was actually used on the album, and along with the signature shotgun snare sound I was immediately transported back in time. Yes Mutt Lange’s meticulous style of recording seems to have stripped away some of the grit and edge of the previous two albums, but it’s hard to argue with any track. Just an amazing influential rock album complete with banger after banger played by tight musicians. And to think that drummer Rick Allen was only 19 when they recorded this. Just plain sick. Rock for the Ages? You betcha.

Damn I forgot how much I love these voices. I own solo material from all three of ‘em, so it’s only natural that when three of the most amazing singers combine it produces this angelic perfection. Three uniquely different sounding voices that somehow become one. Not a style or choice that is a routine go-to for me, but when I do go there with this collaboration all I know is I don’t wanna leave. This is real raw talent. This is the real country music.

Revisiting this one 20+ years later definitely makes for a different listen. There’s some great variety throughout and learning more about the primitive recording process using pre-1963 gear elevates this elephant even more. It’s also important to note that the White Stripes would most likely not exist if not for the influence of mid-80s The Flat Duo Jets whom White speaks highly of in the documentary It Might Get Loud. I will stop short of debating whether Meg is a great drummer, but she is definitely great at serving these dirty, imperfect, raw, gritty, unapologetic songs in this powerhouse duo. It’s rock n roll. And I like it.

I have no words. And apparently neither does Fela. Obvious strong musicianship and really great drumming are at play here. I’m not real sure what I was listening to, but the Afro-jazz blues funkalicious grooves on this made for a much more enjoyable experience while high on allergy meds.

I’m not sure if I was listening to an ambitious yet failed attempt to try and be The Beatles, or the Queen’s coronation…or Spinal Tap which for once is not a good thing. I can appreciate the variety, but this thing is all over the map. Maybe the mysterious lost ship should remain lost.

This 5th album from the band is very much a statement record. Not only an expansion in sound with more guitar heavy tracks, but also some heavy topics from McCarthyism to the state of America under the Reagan administration. This would be their final album with I.R.S. but seeing them perform it live in ‘87 only cemented my love for the band. Finest Worksong is a great opener and Disturbance At The Heron House and King of Birds still rank high on my all time REM faves list.

It seems silly to leave an in-depth review on this one. Time, longevity, production, songwriting, cover art and cultural influence all dictate where this record stands in the library of rock importance. And so to me I think that…oh well, whatever…never mind. It speaks for itself.

When this album arrived 12 years ago I did not give it its fair share. Most likely because I was still somewhat narrow mindedly thinking Jack was only a one-trick White Stripes pony. Re-listening to this now confirms how wrong I was. The stylistic variety and genre bending really shows how he spread his wings after the Stripes and is enough to rate this high for me. Add to that the old school production of only using an 8-track recorder, really allowed some space and air to exist in the songs while also showing that with so few tracks available the players really had to be well-rehearsed. A very cool listen this time around and one I will for sure be routinely revisiting.

While it’s a little sleepy on the backend, this album is a very interesting listen and would fill a number of mood moments. The production is progressive enough that this album would fit just fine if launched in today’s musical market. It’s also understandable that Fiona often gets associated with other like-minded and like-sounding female artists such as Tori Amos, but surprisingly I find Fiona’s sound a little more enjoyable. And to think that the shells of these songs were written by her as a teen and the album in full was released when she was only 18. Incredibly impressive.

I wanted to like this more, but nothing really changed my score. I can appreciate the in between banter from a storytelling standpoint showing that the album needs to be listened to from front to back as a single piece to understand the full picture. But the overall length and overuse of the banter became more of a distraction than a compliment. Killing Me Softly is a good song, but is out of place as it really doesn’t fit the narrative of the other songs that are dealing with some tough topics. I understand the cultural impact this record probably had when released, and it was probably even more important to see a 90s hip hop artist achieve this level of success without Dre being involved. But today I just found it a somewhat boring and repetitive listen.

I can appreciate that this albums starts the creation of the new trip-hop sub genre, but overall it was a pretty boring listen. Some of the sounds and grooves were interesting, but guest vocalist Horace had a vibrato so wide you could drive a semi through it, which was more annoying to listen to than some of the slow tempos. I’ll pass. More like passive attack.

The Bowie similarities are uncanny here. From the vocal style delivery all the way down to the music and production. Makes sense knowing how much Bowie was a Mott fan and that he wrote some songs for them. And with Ziggy Stardust released just one year earlier it can’t be coincidental. Still, outside of the opening track none of the songs really stick or have memorable hook. An ok listen but definitely Nott part of my hoople.

With so many hit singles, and with such a unique mix of punk/rock/synth pop, this record helped set the stage and usher in the new wave. Ironically it would be the disco leaning Heart Of Glass that would help squash the disco movement for good, signaling a drastic change in the music world just around the corner. Debbie Harry’s voice is both strong and sexy and arguably one of the most immediately identifiable. While Clem Burke as one of my top 5 drummers is unmatched in his delivery and style. An overall solid listen.

Definitely in my top 3 RH albums just behind OK Computer and The Bends. And it for sure leans more into the sounds and production of OK Computer. Not a bad song on the record and listening on headphones definitely allowed for an alternate feel, from dreamy and airy to downright strange and tension filled. All the feels you want out of a Radiohead album.

Thompson and his previous band Fairport Convention, along with other Brit-folk bands of the time like Steeleye Span were quite influential to me when forming my own band due to their Celtic/folk sounds. Listening to this back to front some 25 years later only confirmed why. Other than being a major multi-instrumentalist, Thompson also has a great ability for minimalist playing when needed while providing a humanistic approach to the music. Would I call this a masterpiece? No. But an excellent timeless listen? Yes.

I tried very hard to like this album, but nope. Outside of Constant Craving which seems out of place on the record, the record’s slick and very dated production did not hold up. I much prefer the country-tinged sound of Lang rather than this pseudo cabaret style. Even her smooth and silky voice couldn’t save it. Felt like I was listening to the Lawrence Welk show or some made-for-TV special.

After listening to this, I contemplated jumping out of the window of my penthouse only to land head first on the pavement below. Actually that thought occurred AS I was listening to it. Regardless that these guys shared members with the Human League, how the hell some of these albums make the list is beyond comprehension. Even if heaven existed in 17 different realms, I’m sure this album would not be included in any of them.

Bat shit crazy artist meets crazy good art. Like most people I’ve always had trouble separating the art from the person when it comes to this nut job. But objectively speaking this album was surprisingly good. A bit too long though. Cut 3-4 songs and the album would still stand up.

The level of influence this band and album have/had on so many artists downstream earns it a high rating. From bands already experienced on this 1001 list like Underworld and Soft Cell, to so many others like Depeche Mode, New Order and especially the more recent Daft Punk. The scarcity of lyrics mixed with more simple sounds only supports the intended theme here of humans and their relationship to technology. And the fact that these German robot dudes also built many of the instruments and units used to create the sounds is pretty amazing. Life imitates art.

As Thurston Moore sings: “Flies are flaring through your brains.” That’s pretty much how I felt listening to this. The album started the bridge of the band moving into songs with more structure and actual hook. But not much of that here. There’s only so much art rock noise one can handle. Granted, the bonus track Master-Dik espousing “I’m the royal tuff titty and you gotta taste my love” while sampling KISS’ “Strutter” was pretty sweet.

This was a solid listen, albeit a little too long. It probably ventures into 5* territory if there were some songs cut since it did start to sound repetitive on the backend. Still, I can dig the analog production which plays perfectly for two guys known for jamming in the garage.

I mean c’mon! An album this good for your debut? It’s just not fair. All those other bands and critics who say (and said) otherwise can stick a lead balloon where the rock n roll don’t shine. And to think that this sucker was recorded mostly live from the floor in just 36 hours of studio time. Anything less than a 5* would be rock sacrilege.

At least I can say I liked this better than Blonde On Blonde. Shorter length, more sonic variety across the songs were definitely contributing factors. But his monotone vocal delivery will always unfortunately overshadow the poignancy of his lyrics which remain culturally and politically important.

I always thought Billy Joel’s music was safe and comfortable for people who don’t like to color outside the lines. Me included on some days depending on mood. But hits are hits and no matter how soft and somewhat cheesy his songs can be, there is a timeless aspect to his tunes that definitely remains. Even if we refuse to admit that we actually do know the lyrics and can sing along. Five out of nine songs that saw heavy rotation gives this a high number.

This album saw regular rotation for me during my skate punk years right alongside other albums by The Circle Jerks, Dead Kennedys, 7 Seconds. No doubt I was singing “TV Party” on my way down the ramp after pulling a decent backside grind. Chalked full of all the topics of the day from antiestablishment to depression, this gem also has a tongue in cheek humor to it on some songs. And Black Flag were some of the first to strike that balance which influenced many others down the punk rock line.

If only this bird would fly away. But no. Instead it decided to take up residence in the throat of the singer fluttering away like a caged vibrato hummingbird. This has got to be one of the 1001 you must hear if only to serve as a reminder to never listen to it again. Annoying from the first downbeat. Who knows if the piano driven arrangements were any good since I never got past the grating voice. And to think this album received high rankings from supposedly well respected rags like Pitchfork. Nope.

Just good soul-driven music with solid grooves that makes you forget about life for awhile. Runaway Child ironically seems a bit out of place here due to its length and jam vibe when compared to the rest of the tracks. But it doesn’t take away from the overall enjoyment.

I enjoyed this. It was an unexpected surprise and a long way from “You Really Got Me.” Proof that Ray Davies is a good songwriter and can stand at least in the vicinity of that era of Lennon/McCartney.

I wasn’t expecting to like this as much as I did, but it was a very solid listen. The production while quite slick for the time still maintains a slight rough-around-the edges feel and only emphasizes just how great a singer Joplin was. Hard to imagine that this was just her 2nd studio album ever recorded.

A clear shift in style from previous indie pop to a more hard rocking vibe with not near as much of his moany whiney feels. Still, I peeled away from Morrissey after his solo debut Viva Hate, and am still a bigger fan of The Smiths, but overall this was a decent album.

Two days in a row of Morrissey might be too much for anyone. Interesting production on this one due to Steve Lillywhite known for his work with U2, Simple Minds, The Pogues, etc. That plus the lead single “The More You Ignore Me…” are still not enough to move it up the rating scale. Just another sad moody experience with not much stand outs.

I get it. Let’s throw some musicians together who might not normally gel, only to see what transpires. Art for art’s sake. But oof this was tough listen. There were some sounds here and there that I did like, but this exercise is not about 1001 Sounds You Must Hear Before You Die. Eno should’ve stuck it out a bit longer with Roxy Music.

With 15 songs and a full run time of under 40 minutes you gotta love it. Add to that the fact that 4 of the tracks were charting songs. Clearly a more slick and structured production on this moved the band into the more commercial realm, and yet has many Pixies purists over the years gripping Surfer Rosa all the more tightly. Whether intended or not, this album cemented the loud/quiet/loud format as the model of 90s alternative music which Nirvana et al gladly picked up and became famous for. Influence and legacy alone earn it high marks. Smells Like Doolittle Spirit to me.

Man I so wanted to give this a 5-star, but a slight downgrade most likely due to long moments of space or too much avant-garde here and there. But still, it’s impossible to argue that this band and album were not part of the foundation for many prog bands soon to come from Jethro Tull to Gentle Giant to Rush to Dream Theater and beyond. The precision and execution are truly mind bending. The drumming alone on 21st Century Schizoid Man merits its own discussion. And what many have probably written off as pretentious and random overall is anything but that. It’s calculated next level stuff that at many times is hard to comprehend.

This was an ok listen. I always thought of these lads as being the Irish Jayhawks just not near as good. The songs are quite pleasant yet strangely forgettable other than “Say It Ain’t So”, which was a nice standout due to its upbeat tempo. So much for thinking this album should be on this list.

A short run album by a short-lived band but with a long reach influence across the entire hardcore movement. This album deserves a shared lane with their D.C. punk rock contemporaries Bad Brains and contains a lot of the same dynamics and tightness. Punk was not dead then and upon relisten is not dead now.

Interesting that his last show was in Dallas. Even more interesting…and to quote journalists reviews from some of his future albums: “this is not even good sulking music.” I mean…everybody likes a little sad guy music along with a good cry, but damn this was a somber listen. And that’s after two straight days of Morrissey last week.

This was really nice surprising listen. One that I liked better than earlier stuff and one that also flowed better than some of her later stuff. Covering all the moods and dynamics, the album is also much more melodic than other of her works which is probably why I liked it more. And the Thom Yorke duet was a cool standout that doesn’t take away from the overall feel of the album.

Every time I listen a whole new series of sounds are discovered. A true masterpiece. Nothing more needs to be said.

Le Boring. Le Missed the Mark. Le Forced Art Pop-Rock. Le Annoying at Times. Le Nope…

I thought I was gonna be like a virgin when listening to this one since I really don’t know much of her songs outside of the hits. But then around track six I heard that stupid Cher-inspired autotune vocal modulation effect and I realized I wasn’t being touched for the very first time. I liked the acoustic meets electronic element on some tracks, but outside of the two known singles it all just started to sound the same.

Usually cited as one of the three “Kings” for founding the blues sound, B.B. is in full swing on this record. And yet while this was a pleasant enough record to listen to, I don’t understand why this one in particular makes all the top lists. The more upbeat boogie woogie numbers were much more enjoyable than the slow paint drying 12-bar blues ones. B.B. doing B.B. Just not a style I will seek out nor return to.

It’s funny what certain popular songs do to a band’s reputation…even though said song doesn’t really sound like the rest of the band’s catalog. Smoke on The Water is a perfect example of this. And upon hearing it as a kid and a million times since, it clearly did not provide an accurate description of this band’s talent. The rest of this album did though. Complete with blistering guitar work and really good tone on the drums for the time only made it that much more enjoyable. This was a really good rockin album and makes me regret that I did not give them that much ear time growing up. That will all change now.

This was a commitment to write and produce and just amazing that Stevie did this all at the age of 24-25. It was also a commitment to listen to in full and probably my only complaint due to its length. But damn…hard to argue against its cultural and industry relevance. A genre-spanning work that has some cheesy moments but overall grooves its way into forever top lists for a reason.

Albums such as this are quite epic and probably gain higher marks if heard while watching the show. Still, while way too long, it’s pretty impressive that this was 25 years ago and that Metallica found a way to fuse their style with a symphony. Not an easy task. Production and execution by the band could easily place this today with the same staying power.

I didn’t want to like this. Most likely because of her ubiquity. But this album shows that Tay Tay is a good songwriter and lyricist, and I overall enjoyed the listen. To me, this more quiet whispy airy minimalist style fits her voice and lyrical themes way better than the over produced stadium crap. And while I do like the production for the most part, there are too many times where the tricks overlap which IMO actually starts to homogenize the album as a whole taking away from each song’s individual sound. I am clearly a member of the Tortured Taylor Department who’s probably just tired of hearing about her everyday. But this is a nice album and an easy go-to for chillaxin.

I can bossa my nova with the best of them and this one was an enjoyable listen. On the front end the sound seemed more traditional and immediately transported me to a dark sweaty club in 1960s Rio. But the second half of the album seemed to jump straight into smooth jazz sounds of the 70s and made me feel like I was listening to the Brazilian version of Soul Train. Not a bad thing when you have a voice such as hers…

I was expecting this to be much higher than it was. I love brevity when delivering a musical point. Eight songs coming in under 40 minutes is great. But when 12+ minutes of that are taken up by one overly long song? No thanks. Papa shoulda stopped that stone from rolling about six minutes in. The rest of the songs are ok. But overall this one went in too many directions for me.

I mean…sure…I guess. I can admire the thought process that goes into multi-level sampling, and all on a single device…but hard pressed to agree with its placement in this list.

This was another nice surprise. Obviously not a style that many people flock to as further supported by pretty low sales. But so what. Good music is good music. And I particularly enjoyed some of his acoustic stylings which clearly show a better depth and command of the instrument. Overall an enjoyable listen.

You can definitely hear the seeds that would eventually become peak Purple Rain. But after the first three tracks which were bangers then and still hold bang status today, the rest of this one is just not quite as strong. Still rounding up to a 4 on innovation and staying power alone. 3.75/4.

While I’m a bigger fan of her debut The Lion and The Cobra, this album really represented her voice well and brought it to the forefront as a true instrument. It’s impossible to hear her voice and not be moved to some sort of emotion. There’s a nice variety of songs here, but I Am Stretched On Your Grave and The Last Day of Our Acquaintance were always my favorite tracks.

It’s interesting revisiting this album that incredibly is almost 30 years old. And yet if made today I’m convinced would fit right in line with the current music industry. Most likely because Beck has an incredible knack for fusing many genres into one unique style that in some respects cannot be defined or pigeonholed, and yet at the same time remains familiar. Throw in his quirky lyrics and tasteful production and you get really good records. A well deserved 4-spot most likely as I’m holding out hope for more Beck releases that I prefer that much more such as Sea Changes or Morning Phase.

A lot of this sounded alike, but the vibes to chill out to were still abundant. Better than Massive Attack. Best when listening with headphones.

Background music to chill to. Interesting story about how it was all compiled from old cassette recordings. Seems to bridge the gap between the Kraftwerk era and what’s to come with modern techno bands. I can dig it here and there, but definitely situational sounds for situational moods.

This was a pretty nice surprise. Mainly driven from the opening track which I recognized immediately due to the fact that it was covered by English punk rock band The Damned in 1987…which I owned on cassette. Overall this had a very 60s vibe with similar sounds to The Animals, The Kinks and early leanings into what would become that CA Laurel Canyon sound. The use of horns and strings was pretty interesting and the production quality was really a standout for the time.

There were a few standouts on this, but overall just not my jam. And maybe Ms. Elliott knew something at the time the rest of us didn’t by hilariously mentioning in her outro that we might not like the record or “maybe somebody shitted in your cornflakes.” Still…a decent bowl of cereal in the end.

I’m betting this is gonna be one of the albums that spans the gamut of reviews across the team. So (literally)…I’ll just get it out of the way up front. A full 5 hands down. Most likely due to “where was I when this first came out” memories. Yes, some of the production is a bit dated (it was the 80s after all)…but the musicianship is next level. And the ability to fuse world music influences with pop sensibilities is well ahead of its time. Something Gabriel had a pulse on long before most artists. Throw in the feat of having 5 of the 9 songs landing on some charts, along with a pretty long legacy stay power and it’s hard to deny this unique record.

I remember buying this album as soon as it was released. And while a bit lengthy, it is a really good record. I think for me it’s the sonic implications and production of why I like it. There are a lot of similar sounds and techniques that even other bands at that time were utilizing (like Of Monsters And Men). Which seemed to be the feel of many indie artists then. But this one has more, and it’s the subtle ideas here and there that elevate it (the extra beat added to the front half of the verses on “Modern Man” is just great). Overall just a more “soft”, blended, round feel to it. An easy 4+ for me.

The number of collaborations on Bobby’s resume is incredibly impressive. But…even with only 8 songs on this album, I found it a slog to get through. Most likely b/c some of the songs were 6 plus minutes. Oof. What I found more head scratching is this was released in late ‘81/early ‘82 when disco tinged styles like this were already way dead. Yet, this album was still top of the R&B charts when the rest of the world had clearly moved into punk, indie, new wave. Who woulda thunk it? Not me.

I guess there’s a time and place for everything, but this album being included in the list is just silly. Sound loops and samples. No real structure to songs. And way too long.

An album chalked full of contradictions. Late 60s psychedelia meets ska meets folk rock meets klezmer meets sea shanties. They sure do love their sea themes, but man…this coral should’ve remained at sea.

I always forget just how many hit songs CCR had. And then this album pops up only to remind me more. A band who truly bucked the system at the time and found their own sound. Amazing the amount of good songs for such a short lived time together.

Muse is a band that fits a very mood-specific listening situation. And while I have fond memories of this album when it was released, i always felt the music in general was a bit overly dramatic in what appears as a constant striving to be cacophonous or epic. Add to that Bellamy’s overly dramatic vocal delivery and I think you have a band that slightly gets in their own way. Still, there are some really good songs here and even more cool rocking moments, but my preference would be to dial back the bombastic and add in some more subtle moments.

I can dig it. A good album title for doing that very thing: chillin’ on the beach. The front end of the album had some more interesting stuff. Backend was a bit slow for my taste, but still worth the listen. It’s nice to hear Young’s voice in a more folksy intimate vibe.

An obvious change in style and production from the band’s previous efforts. And while I enjoyed the less gritty approach and interesting use of more varied instruments. it just didn’t quite grab me as much.

George’s opening line count-in says it all: one, two, three, four. Just add one more.

I have distant memories of hearing “I’ve Seen All Good People” on the radio sandwiched between bands like Rush and Kansas in the late 70s, but I missed the Yes train altogether. Even by the time their ‘83 album 90125 came out with the ubiquitous “Owner Of A Lonely Heart”, I had moved on to punk and new wave. Still, this album had some really interesting sounds on it and excellent musicianship.

I can dig the songs that made regular rotation and most likely will up my number here, but overall this was just too much of an assault on my senses. Too repetitive, a bit annoying and not my thing.

I found this quite enjoyable and oddly hypnotic. This dude only lived to the age of 48 but recorded 125+ albums. Pretty amazing. And more props to Peter Gabriel for the release of this album on his Realworld label. I can appreciate its inclusion in this list given it’s out of the norm world music.

How can you not dig this? I mean, blues ain’t my go-to bag…but with ‘ol Rod providing vocals it simply elevates it into a much higher realm. Beck has always been an under appreciated guitarist too. His licks are tasty and he knows how to serve the song. Rock n’ roll doesn’t have to be complicated when you have the firepower of these players.

Two days in a row of Rod is a good thing. Stay With Me is the obvious standout, but there were other high points too. And with Ron Wood moving to guitar duties from his bass position in the Jeff Beck band it clearly sets the stage for why he was a soon-to-be perfect fit for the Stones. With a resume and collab list too long to name, Ian McLagen on keys is an unsung hero on this too.

When I first heard this record in the 80s I really only knew the band’s pure punk styles as heard in “White Riot” and “Police and Thieves” from earlier records. So I didn’t know what to except given the power of the opening title track alone. It would quickly become one of my top fave albums and has remained as such. Too many songs and styles to dissect here, but the legacy, influence and audacity of this record can never be touched.

If you build it, others will follow. And whether you like the music or not, or agree that much of it sounds alike is not important. When you create something that has downstream influential effects for so many future musicians…while lasting over a half century, it is no wonder you are given the title of the architect of rock n’ roll.

My most vivid memory of hearing “8 Miles High” took place while inside an MRI tube, and so the frenetic guitar didn’t exactly groove well with the machine pounding. Definitely made for an interesting experience. Still, there are some good songs here; just not as good as earlier efforts where McGuinn’s signature Rickenbacker seems much more prevalent. A nice surprise was hearing the Celt-folk trad number “Wild Mountain Thyme”, but overall just an ok listen.

Music like this is fine and all if listening in the background, or if you want to get stuck in a constant loop of being in a David Lynch film…only to realize you’re never leaving. I just find it perplexing how many albums like this have made the list.

Knowing the history of what inspired this record as well as the challenges faced with label heads to get it made makes it all the more interesting when listening. Ranked as the #1 album of all time on Rolling Stones 2020 “500 Best of” list I think is a bit of a stretch, but it does rank up there. Some of the extra long jams are probably the determining factor that drop it down for me.

I was fortunate enough to catch these guys live in the summer of ‘88 as part of a 5-band lineup that included the Smithereens, Ziggy Marley, Iggy Pop and INXS. They were one year removed from this album’s release and were at their drama-filled dysfunctional peak. All of which was on full display during this show that ended with Axl kicking over the sound system floor monitors and walking off stage 45 minutes into their “support” set before headliners INXS took the stage. And even though this wasn’t my go-to listening choice at the time, I still recognized how good this album was, especially for a debut. I was always more of a fan of the deep cuts on this one too, particularly Mr. Brownstone and Rocket Queen.

I love me some Cure. But even though this album seems to return the band back to the dreamy, droney, luscious sounds of their early early stuff…I can only be mopey for so long. Pictures of You and Lullaby are nice standouts and while I get its inclusion on the album for overall balance, Lovesong was so overplayed I’d probably be ok never hearing it again. The album is just a bit too long, and most likely gets a lower mark on the hope that their 1985 album “Head On The Door” makes the list and earns the top rating. 3.75/5

A very appropriate title given the reasoning and direction the band chose to make this album. Just when I get hooked with some short n’ sweet power pop glam feels, the next song would be slow Syd Barrett-esque left field weirdness. From an artistic standpoint that is fine I guess, but from a listening experience side of things it was totally lacking cohesiveness. Too many genres and sounds competing, which ironically made me forget all of it.

I can recognize the talent of the players involved here. But damn…it felt like I was in a non-stop montage scene from a late 70s movie or at times trapped in the opening credits of an 80s sitcom that didn’t get renewed for a second season.

This one I’m rating out of straight nostalgia and legacy influence. I was raised on this record and their next even better ‘74 album “Stars and Stripes Forever.” It goes w/o saying that without this album, so many artists that followed would not exist. The fusion of folk/rock/grass was very much against the grain for the times. To most folks, on the surface, this music might seem basic, but in fact it’s quite high level. Especially on the instrumentals. What’s more interesting is this was the first time many of the collaborators/guests were meeting each other and the band for the first time. As a result, they just pushed play and recorded most of the songs in 1-2 takes. Only negative is it’s a bit too long (it was a triple LP upon release). Fun trivia side note: as an avid banjo player Steve Martin would routinely showcase with this band in the 70s because his manager was Bill McEuen (producer of this record) and brother of Dirt Band banjo player John McEuen.

It’s funny reading interviews surrounding this album’s release and how it was noted as not being a concept album. When it’s conceptual ideas front and center that have allowed this great band to sustain for so long. This is a really good record that holds together nicely due to conceptual cohesiveness.

I can see the relevance of this one if I place myself in the year 2000 of its release. It hits like a wrecking ball. But nearly 25 years later, it doesn’t hold up near as well. I get it…angry much? Mr. Mathers is much better when he takes a less obvious or humorous approach to the lyrics as he does here and there. But the blatant misogynistic, homophonic and violent lyrics are tired and seem elementary nearly a quarter century later.

I was a bit surprised at how most of the songs fall into the same slower tempo. But it doesn’t matter with a voice like Aretha’s. Preach.

This album was a gut punch then, and surprisingly still has some solid moments 20+ years later. Most songs sound pretty similar in tone and feel, but their short n sweet length inevitably doesn’t really detract from an overall homogenized sound. Obvious standouts like the ubiquitous “In The End” put these guys in a class of their own unlike other cheesy nu metal acts like Limp Bizkit or Papa Roach, etc. Rating up due to ingenuity and influence.

I first saw Motörhead perform in 1984 on the British comedy show The Young Ones. Even then I always considered them more hard rock/punk rockers rather than the mislabelled heavy metal. Revisiting this album continues to confirm that. Short, no frills rock n roll songs made for the sole purpose of having fun, drinkin’, smokin’ and screwin’.

I imagine this album will be pretty divided amongst the group. Chalk this band up to one of ‘em that probably has to be experienced at the time. And in 1985 this band and album received heavy rotation in my high school angst ridden soundtrack. Was always a huge fan of the Smiths. Such a short-lived band that was producing some of the more unique non-synth pop sounds of the time. An ever bigger fan of Johnny Marr, a very underrated guitarist.

I was not familiar with much of the band’s material in the pre-Dickinson era. This was an overall enjoyable listen and I really liked the simpler basic production on it. The guitar work is pretty bad ass, and when coupled with melodic bass it really elevated this for me. A bit cheesy here and there, but it was of the time. And there are moments here that also hint at what the known powerhouse these guys would soon become.

Shit Machine.

A strong follow up to the really good “Parachutes” debut. An exceptional album wrought full of emotion and urgency, this album dropped right in the midst of me experiencing my own rush of blood to the head in life at the time. It will always be linked to me because of that. The songs speak for themselves and became the catalyst for a new chapter. Revisiting the songs today confirms that the story happened the way it was supposed to.

There are only 88 more years until the Solar Federation takes control. Plenty of time for people to realize this album. A bold effort in 1976 from the band to make a concept album, but props to them for sticking with their guns even though their label was threatening to drop them. Listening front to back is almost a must in order to get the full experience. Only negative for me is Geddy’s macaw-like vocal delivery which seems extra squawky here, only to soften more in later albums.

This is a surprisingly kick ass album. Maybe not quite as great as their first two, but really good throughout. From face melter riffs to unique time signature switching to ballad feels on songs like Changes, the band really starts to spread their wings here into the sounds that they would eventually be known for. Rock n roll indeed.

An overall solid listen, that technically could’ve been called Kid B. Knives Out is the clear standout, and a number of other tracks have some interesting production. Definitely a few songs here that were unnecessary filler, which bring the cohesiveness down. Doesn’t make my top list of RH albums, but still good for the right mood.

A band that somehow got bypassed by me. Most likely during the time when the digital floodgate opened. This is good stuff. And certain moments even sound a little like Debbie Harry, Siouxsie and the Banshees peeking in with their own added edge, which is very cool. Depending on the day and my listening mood this might get a lower score, but today I’m rating up. Yes. Yes. Yes.

I’m sure I heard this in my techno club phase while attempting to be cool. But I forget. Unfortunately listening to it this many years later proved two things: I’m still not cool, and it still is mostly forgettable.

This album really only partially holds itself up thanks to the catchy song Why Does It Always Rain On Me? which I knew quite well. I was hoping the rest of the material would also standout, but unfortunately it didn’t. I mean it’s all fine, but I felt like I was listening to a Radiohead knock-off band filtered through the band Keane with a bit of Oasis peppered in. And then my hunch was proven when I saw the album was produced by Nigel Godrich, longtime collaborator/producer of Radiohead.

I remember buying this album based on hearing Porcelain and South Side. Over time I realized that I had heard many of the other tracks, only to learn that it was because of their appearance in other shows, commercials, etc. Reading the backstory of this album and the unprecedented licensing for the songs to gain listening attention is fascinating. All 18 songs licensed multiple times. Rating down due to its length. 3.5/4.

Whatever people say I am supposed to like, that’s what I’m not always gonna like as much. Good post-punk feel that was an overall enjoyable listen. But the songs just weren’t as distinct as I expected and they started to run together. I wouldn’t turn the dial if this came on again, but probably won’t be seeking it out much more either.

Just one long strange drug trip of drivel. I had hopes of liking this when the needle dropped, but no such luck. I’ll seek out my trance-like, guitar-driven, droney sounds elsewhere with bands like Galaxie 500.

With the first two tracks/hits I was expecting this to be better. But the cream starts to settle midway through and by the backend becomes a little stale. The fact that they recorded this in 3.5 days is pretty amazing, but not enough to help the cream rise to the top.

As a pretty big fan of this band, this last effort of theirs just didn’t do it for me. And apparently didn’t do it for them either, as they essentially walked away from it and it wasn’t released until four years later. A very erratic group of songs with some bright spots here and there…it’s essentially an Alex Chilton solo record but very erratic, no doubt a direct reflection of the mounting life troubles the lead singer and songwriter was experiencing. For a better snapshot of the band’s legacy, check out their first two albums. As the star does shine a little bigger on those.

I had peeled away from listening to the RHCP after Mother’s Milk and Blood, Sugar, Sex Magik, but this album overall holds up upon return listen. I was a bigger fan of their earlier stuff including Uplift Mofo Party Plan, and while this effort expanded their sound into the more commercial rock feel, rating down solely on over saturation and length. There’s def 4-5 songs on here that are filler material and if it had been presented as a solid 10-11 tracks probably would’ve upped my rating. 3.75/4.

I caught the Beasties on this tour in ‘94 and it was cool to see them playing live with real instruments, including having the drummer from Suicidal Tendencies backing them up. It furthered my respect for them and their abilities. The Sabotage video alone almost earns up ranking here. But while this album is a pretty wide gamut of styles and vocal numbers vs. instrumentals, it’s a commitment to get through in one fell swoop. I’ll always dig the boys, but will no doubt check my head at Paul’s Boutique as my go to album for them.

I think Dexy needs to keep searching. With an over the top exaggerated affected way of singing along with way too much horns just for the sake of being horny, this one fell flat for me and at times was slightly annoying. For a better representation of soul punk horn sound check out The Specials. “Come on Eileen! You can’t get here soon enough!”

A strong debut. Art students making quirky and smart art rock. No doubt many bands like Violent Femmes, Weezer, Vampire Weekend, etc probably do not have as much success without these doors being kicked open by the Heads. I found myself wondering what’s next throughout this listen which is a good thing.

These dudes sure do like weed. Interesting sonic feels here and there that compare to some Beastie Boys sounds which makes sense given they ran some tours together. Most songs on this album seem to sound and feel alike though given their similar tempos, with some others thrown in for filler. An ok album, but not a revisit for me.

Running through the fields of a non-stop montage scene from a movie…listening, hoping, reaching, searching for that special someone or something that left you…only to realize that it never really left in the first place. This must be what improv jazz is like.

Gimme a cold Dixie beer and slap me on a hot sweaty porch in the deep South. Listening to this sure does make one believe that we were all born on the bayou.

This album really shows Sonic Youth coming into their own. It received regular rotation by me while I was DJ’ing on our college radio station. And seeing videos for songs like Dirty Boots on MTV’s 120 Minutes sure does take me back. The first 2/3 of the album is really good and then there’s some stuff on the backend that speaks more to earlier “experimental” SY stylings. Still, not enough to down rate for me due to some nice nostalgia.

At first, I thought this sure does sound like a band trying to emulate Prince and Lenny Kravitz, only to then see that two tracks feature Kravitz. Those songs probably keep it out of 1* territory. But as I paid more attention to the ridiculous elementary lyrics I thought this must be what Spinal Tap would sound like as rap band. Tough listen. N.O.P.E.

Pretty skeptical about this exercise now with this being the 4th album by SY to make the cut. It is pretty cool to see the incomparable Mike Watt in his post-Minuteman/pre-firehose days playing bass on a few tracks. And while you can hear seedlings here throughout that definitely lay foundations which other bands take from later, this effort doesn’t merit a placement in the 1001. Some moments are cool, but noise for noise sake is a bit much.

The three hits remain solid standouts. And the rest of it was also a really good chill and groovy listen. The use of Moog/synth layerings to create orchestral fills and groove ambience is pretty revolutionary for the time in 1972, and just another level of how talented Stevie is. The fact that he played most instruments on this, was a major hand in the production…and all at the age of 22 is pretty amazing and equally hard to comprehend.

To quote the song “Jeremy”, this album continues to “hit me with a surprise left” every time I listen to it. While understandably linked to Nirvana due to release date proximity and being part of the Seattle sound blender, it really isn’t a grunge album at all. Just a really good hard rock sound that still presents new nugget discoveries each time listening. I always thought it was cool too that this time for the band also has some interesting Dallas/North Texas ties with drummers that joined them just after the Ten sessions: both Matt Chamberlain (New Bohemians) and Dave Abbruzzee (Course of Empire). 1991 was a major year for releases that also included Soundgarden, Dinosaur Jr. and Screaming Trees among so many others. In the end, seems kinda silly to even question Ten’s well-deserved top star rating given its influence and staying power.

I really liked the sonic simplicity of this. Totally forgot that three big hits were all on this. No doubt that bands like Beastie Boys, Public Enemy, NWA, etc. would not have reached their level of popularity and relevance without these guys. And the collaboration with Aerosmith stands as one of the most pivotal genre-mash up partnerships. This album and band broke down walls figuratively and literally (see video for Walk This Way) that continues today.

I never thought I’d be saying this, but dayum…the sex lasted way too long. And still no climax. While I can somewhat appreciate the whimsical approach here, the overall listen was just simply dated, boring and utterly forgettable. The two charting songs are the only thing keeping this out of 1* rating.

It’s hard for me to rate this higher than a 3. Even though Paint It Black and Under My Thumb are banger classics, and this was the first record of the band recording all original material, it would be tough giving it a 4 based solely on the hope/possibility that we’ll see other albums of theirs that are better. They sure do love their women. But, they sure don’t as well (hello Stupid Girl). I guess a stone stopped in its track equals a woman scorned.

The link to listen originally brought me to a version with only 6 or so songs. After searching I was able to find that this was actually 2 separate albums recorded in 2 separate sessions, each totaling 12 songs for a total of 24 songs. Pretty incredible that the recording sessions for each were only 3 days apiece. And with an 18+ member orchestra too. Yes the orchestral and background singing is quite dated, and of that Lawrence Welk time period. But to hear the re-interpreting of these old C&W classics into a more jazz big band style is pretty cool, and never really tiresome…even with 24 songs. Timeless indeed. No doubt due to Ray’s voice which clearly drives the show here.

I swayed between a 4 and 5 on this one based on legacy alone. I mean the percussion on Not Fade Away was indeed just a shoebox. That alone is badass and so rock n roll. Keep in mind this album doesn’t even include other hits like Peggy Sue or Rave On which probably keeps it in 4* territory. Still, Holly made regular rotation by my parents in our house growing up, and I probably did not fully understand the downstream influence he had on rock n roll until I saw the Stones in ‘94 open with that same song Not Fade Away. For a really well-presented bio of him, check out the under radar 1978 movie The Buddy Holly Story that earned Gary Busey an Oscar nomination before he went crazy.

An ambitious debut album clearly. Completely forgot that the standout Solsbury Hill went this far back. The musicianship is top notch, but other than the Hill single the rest of the album lacked cohesiveness given every song essentially exists in its own silo. At times I felt I was listening to Bowie run through a Danny Elfman blender which is not necessarily a bad thing. Just a little too avant-garde for me.

Probably the biggest challenge separating the art from the man when listening to Kanye. I didn’t want to like any of this, but ended up being surprised, probably due to the obvious shift away from gangsta style. A pretty strong debut. Rating down because of length, overuse of chipmunk pitch-shift vocals, and inclusion of unnecessary talking tracks that IMO actually take away from poignant messages being delivered in the actual songs.

I found this to be an overall enjoyable listen. Maybe better than their label mates the Coral. With vocals strikingly similar to Eric Burdon and Ray Davies, I kinda felt like they are a modern day version of The Animals and The Kinks with an edge. There’s a variety of styles going on here, but it still works.

I really liked this. Definitely recognized a few of the songs including the lead single. You can for sure hear influences like The Kinks and The Jam peeking through, and the production choices seem to complement the style too. Nothing contrived here. Just really good Brit-pop.

Quintessential 80s right here. While I was never really a huge Duran fan, it was hard to ignore the impact of this record, let alone how much the songs were played. It skyrocketed them to fame and made them an early beacon in the MTV movement. The first four tracks alone merit its high rating, and even learning after reading the role keyboardist Nick Rhodes had in the writing and production, to me it was always bassist John Taylor who was the driver of many of their songs.

An excellent last album from a short-lived group of master class players. As an up and coming drummer at the time who was obsessed with Stewart Copeland, I of course owned this cassette. With the majority of the songs all playing a part in helping to define the 80s, it would be hard to rate down here. A few tracks for sure are not needed (the excruciating Mother), but Synchronicity I and II, Every Breath, King of Pain, Wrapped Around Your Finger, Murder By Numbers all are bangers. Definitely some world music seeds being planted here too of what would become Sting’s new solo life.

I remember this circulating around campus during my college years. And while my go-to rap/hip hop of that time would’ve leaned more into the Beastie Boys or Public Enemy, I still like the overall vibes. A lot of this does kinda sound alike but I can appreciate the grooves and sampling selection while also recognizing the positive side of things they were promoting.

I can see this music being beneficial if you ever need to force hostages to talk. Or maybe in the background if white noise is not available. I can appreciate the drum n bass sub-genre, but this was simply too long and too repetitive.

I forgot how synth-driven this was. And while I prefer Off The Wall and Thriller wayyyy more, it’s hard to argue against a top rating for this given the strength and number of singles, not to mention its legacy alone. I was not a fan of Liberian Girl and honestly the production is a bit dated and cheesy sounding. But not enough to move the needle downward. Does it speak to the level of cheesy 80s because I remember Weird Al’s parody (“Fat”) more than the actual? Hard to say. Shamm-on, Ham-on, ham on whole wheat, alright!

This was a perfectly fine listen. Moments here and there were enjoyable. I liked Common People and Something Changed. But outside of those most of this sounded pretty similar with not a lot of ear-turning standouts.

This album was included in the 2011 version of the 1001 book and I’d be surprised if it made later cuts. The music and arrangements across this album were interesting and at times unpredictable which is cool. Thankfully lead vocal duties were shared across two guys because that falsetto was not my bag, and at times simply too annoying to listen to.

I was never really that much of a Van fan outside of his collaborations with The Chieftains and his contributions to the multi-artist Long Black Veil project. And growing up he was not really a go-to for me. But the chill timeless nature of this album can’t be denied. The first five tracks alone still survive this many years later. The backend, while still good, doesn’t have quite the punch. But…an overall peaceful easy feeling.

More like time’s up. Gimme 30-45 minutes of this, then maybe. But 2 hours? Nope.

I’ve always felt that when it comes to listening to the blues, you gotta get in and get out pretty quickly. Unfortunately this album is probably not a good litmus test for that. Live recordings are very hard to pull off and these guys do it well here. The band is tight and some parts where both guitarists are harmonizing are pretty solid. Those reasons probably earn it as 3-star for me. But damn…do we really need 20+ minute jams? Clearly a listen where if you leave to get a beer, only to return and realize you probably didn’t miss much.

A very timely title. We need more groove in our lives these days and the funk factor on this one helps. I really dug this listen. The following lyric samples alone deserve a mention: -“A musical bowel movement designed to rid you of all mental diarrhea” -“the fear of being eaten by a sandwich” -“ ice cream is the reality” A good balance of Truth and Soul.

This is a really good record. Outside of the two radio hits I had forgotten how straight up punk this album is. The songs are tight and brief and to the point and the overall feel is a nice tough group of songs. And to think it was all done with a $20K budget is impressive. I also had no idea that these guys were on indie Epitaph Records for this release which makes it even better, seeing that so many great bands are associated with that label. From Bad Religion to The Vandals and Descendants to Social Distortion to Flogging Molly and Dropkick Murphys. A perfect fit at the time. And revisiting this album confirms it is still a perfect legacy fit today.

Not a genre that I ever really explored. And probably won’t after this listen. Incredible to read that these guys have sold 20 million records worldwide. But, admittedly, even though every song pretty much sounded alike, this was a decent listen due to some nice tempo shifts and slow downs and some occasional face-melting guitar work. The drumming deserves its own call out as it is pretty sick. I also recorded my fastest average pace bike ride after listening. Not coincidental. Arise indeed.

A really enjoyable listen. Always dig Dwight. And have always liked how he bucked the Nashville machine and carved his own path his own way. This is a strong 3+ rating. Interestingly enough my favorite tracks were the collaborations with Buck Owens and Maria McKee (of incredibly underrated Lone Justice fame).

I’ve always enjoyed this album ever since it was released. Over the last decade I found myself returning to it more than enough times to merit high ratings. And yet strangely it’s still hard to hum or distinguish the tracks. Except of course for “Burning” which is an obvious modern day steal of Rod Stewart’s “Young Turks.” Other influences are also obvious, from Dylan and Petty, to The Waterboys and Orbison. Overall the production is progressive, pleasant and chill, but unfortunately a bit too homogeneous. And yet I will probably still find myself returning to this as the mood calls since it is a really good record still.

I was surprised at how much I liked this. Normally my reaction to Santana is an immediate change of the dial which even includes the early 2000s duet with Matchbox Rob. But on this one, the Latin/world vibes carried me through. Interesting that so much of this was instrumental too which is very cool. Even more surprising is that this album went to No. 1 in the U.S. While I normally will seek my vibes of this nature with more trad groups like Sergio Mendes and Brasil 66, I can still dig this.

I can dig me some EDM. And while this album is much more listenable than some of the prior ones in the genre, and especially some of the drum n bass ones…I find myself asking: are there really this many EDM/dance albums that I must hear before I die? I’m starting to think: no, there are not.

(In)appropriately timed album given the state of the union. The act of writing protest songs or albums was a badge of honor back in the 60s/70s, and so it’s interesting to see this being done on this effort as recent as four years ago. I think the voice over parts really just acted as unnecessary filler to the songs themselves that still deliver the intended message. In the end it was just too long, but still a decent listen.

I’d always known about Burning Spear, but never really experienced the music outside of a few tracks here and there. This is a solid album that deserves to be in the same conversation with Marley, Peter Tosh, Jimmy Cliff, etc.

Arena dad rock at its finest with all eight tracks charting. And the first 4 are simply classic. The backstory of how this album was made and recorded is fascinating. Timeless songs that still rock today, nearly 50 years later.

A solid debut from a young artist at the time. I can appreciate the album more based on brevity. Many artists in this genre think more is better. This album disproves that. I also liked the choice of of sampling which is subtle, yet helps tie together old world influences with the new. My only real complaint is the overall feel of each song, with every one feeling like it was written at the same tempo.

This was a really cool yet haunting listen. And with his vocals mixed up front and center it made it all the more vivid, almost as if he’s sitting right beside you. A lot of similarities in tone and feel with Nick Cave, but the minimalistic arrangements made this even more stark. Will probably re-visit a lot more of his material.

I’m a huge Bunnymen fan and Ian McCulloch’s voice is arguably one of the more distinct ones out there. “The Cutter” and “Back of Love” are great songs and were on regular cassette rotations during high school. They help lead off a pretty strong first-6 on this album, but my fence-sitting was always due to the back 4 songs that I think are not as standout material. The backstory on the state of the band during this recording IMO is probably why the album is a bit imbalanced. A strong effort that just doesn’t reach what would soon be accomplished on their next two releases, 1984’s Ocean Rain and the self-titled from 1987.

I find it interesting that these guys are mostly ever referenced for the song “Time of Season”, when this album shows a much more deeply talented group. This was a great listen and came close to being a 5 for me. Strange how they get forgotten in the top band discussions of the late 60s when clearly they deserve residence alongside some of the bigger recordings of that time (Beatles, Beach Boys). Even more strange is after their short-lived career, there were copycat bands popping up claiming to be them. One of which included Dusty Hill and Frank Beard of the soon-to-be ZZ Top.

I will always appreciate their level and ability to harmonize, and can for sure understand their placement in the industry at the time as presenting a style that was new and different. But outside the few tracks on here that were the more well-known, the rest of it didn’t do much for me. I always felt S&G walk a fine line between serious and somewhat cheesy. Probably an observation that is further supported by their music placements in both “The Graduate”, and Will Ferrell’s collapsing into the pool in “Old School.”

Aside from the tragedy, death and destruction experienced as the result of this album being made, it didn’t quite live up to the earlier live Fela album on this exercise.

Power-pop synth rock at its finest. With 7 of the 9 songs charting and getting routine radio play it’s hard not to rate this all in. An incredibly strong debut that at the time had some saying it should’ve been called “The Cars: Greatest Hits” given the massive appeal. I’m sure this hits home more for those that grew up with these songs, but the strength of them still holds today. And who could forget the iconic scene in Fast Times at Ridgemont High with Phoebe Cates emerging from the pool with “Moving In Stereo” playing?