Run for Your Life is a disturbing note to close out on, but dang, the album is so good. I'm tempted to dock a point for it, but in 30 years of listening to the album it's the first time the lyrics have sunk in.

I'm having a hard time taking the lyrics seriously. I don't understand German, though, so I'm aware that my inclination to giggle over them could be deeply innappropriate. He really does sound like Cookie Monster and I envision him looking/performing like Animal the Muppet (my favorite muppet!). Removing the lyrics, I can see the music being the soundtrack to a fairly intense action movie. I'll have to check out their newer stuff, especially the take on Bach's Fugue. Could do without Herz-Felde's loops. Not likely to listen again, but I doesn't make me want to peel my ears off, so, yeah.

I liked this far more than expected. Fun Fun Fun on the Autobahn.

I still have the Old Friends box set with their entire output even though I haven't listened to a CD in...17 years? Anyway, this album is classic and has many of their best work. In my imagination, once Simon got Garfunkel to sing Bridge he knew it was the pinnacle of their paring and they'd never top that song. They had to break up. I saw them at their Old Friends reunion tour in 2003, and I'm pretty sure Simon was deeply, deeply, stoned and Garfunkel inexplicably didn't change Bridge to a key his much older vocal chords could handle. It was an experience. I look forward to Simon's solo stuff popping up here.

It's fine. Nothing stands out quite as much as Imagine. Fine background music. I can imagine it being played in the background of smokey rooms. But maybe that's influenced by the cover image.

It's Aretha. And some of her absolute best.

This was great! I was familiar with Alright, but didn't know anything else on the album or recall any familiarity with the band name. Super solid album, with some clear influences. I particularly enjoyed Sofa (Of My Lethargy) which spans several decads of style, but I particularly love the Sgt. Pepper-like sections. I'll probably listen to this again.

This didn't do anything for me. It didn't hold my attention, I generally forgot it was playing, and I certainly wasn't doing anything terribly distracting.

Lovely. I know it's categorized with folk, but this album doesn't sound quite like anything else I'm familiar with from that era. I can see how it's influential, and wish Apple Music had an Inspired By playlist to better see those through lines. It's a clear vibe.

This was a surprise. I definitely wasn't expecting West Side Story or jazz. Very unexpected. I have adjusted my clearly woefully incorrect impression of Alice Cooper. Really like Blue Turk.

I keep thinking of Rufus Wainwright while listening to this. Not a fan of "So Real," especially the insipid and repetitive lyrics and the section where the guitar imitates a weed whacker. It's one of the great renditions of Hallelujah, and I also liked "Forget Her." After listening to the whole album on a loop, I doubt that I'll revisit it, but I will listen to the two songs I like.

Like many, the interstitials didn't feel entirely necessary from a casual listening standpoint, BUT, when considered as a whole work of art, it does ground, frame, and contextualize the album. I can't get Doo Wop (That Thing) out of my head, which is a problem I haven't had since this was in regular radio rotation. I appreciate the variety of instrumentalizations and style incorporated in the album while still managing to seem cohesive. It was a very enjoyable listening day having this on loop. It was amusing to have this come up two days after Alice Cooper's School's out, with both using the school desk motif for the album covers. I wonder if that was accidental or intentional on Ms. Hill's team's part.

I expected to like this, as while I've not listened to an eniter Peter Gabriel album I am familiar with a few songs, like Solsbury Hill, but this was kinda a disjointed mess. Super random, and I agree with another commenter that it feels like he was trying to figure out his voice as a soloist and threw a pot of spaggetti at the wall to see what would stick. Excuse Me definitely did not stick. I suspect there are better PG albums out there. I can't see myself listening to this again, largely just so I never have to hear Excuse Me again. Solsbury Hill is catchy, Humdrum, Slowburn, and several others are fine.

Mysogenist as hell. These dudes are gross. Small doses only. I can acknowledge that the guitars and percussion are great, occassionally epic. Lyrics and singing, no thanks.

You know, it's a lot of sound. Deep, layered, multifaceted sounds. It's a vibe. A pleasant vibe. However, after Southern Point and Two Weeks - which a great - the rest of the album really just blends together into that vibe. I think musically it's strong, but I definitely don't hear the lyrics. Very mumble-y.

These were American Standards that Sinatra made even more standard. I knew every dang one of the songs, even though I doubt I've listened to this album before. The songs on this album, as sung by Sinatra, have permeated American culture. If you're familiar with the original versions of them, you can see how the arrangement matters. For instance, I've Got You Under My Skin is a Cole Porter song from a movie in 1936. All the lyrics and melody are exactly the same. They are entirely different songs. The original is a bit of a slog. If we're ranking on influence? This is a 5. I'm dropping it to a 4 for personal taste. But I'll pick Frank's versions over the originals 8 times out of 10.

Another album of a band I thought that I knew what they were about, and another album where I'm wrong. That said, the falsetto/yelling gets old and makes it difficult for me to differentiate one band from another. The musicality is fascinating. More blues influence than I expected.

After a little too much heavy metal, it was a real relief to see this pop up. Did I know this album? No. But I know Stan Getz and Charlie Byrd and anticipated something more chill. Which I got. Gosh this was good. Such an enjoyable day to listen to this on repeat.

I need to be in a certain mood for this, but when I am, I really like it. Damaged Goods, especially. Return the Gift got too repetitive. I don't love how the vocal approach is so similar to other bands in the genre. LOVE the bass guitar. Drums are great, too. Can't listen to this on loop all day, like I do with most albums.

I don't know. I wanted to like it. I think I prefer other people singing Leonard Cohen songs. For instance, with Avalanche, I love the propulsive rythmic guitar in the original, but I like Aimee Mann's version a lot more. Her voice is more dynamic and the arrangement just feels both more lyrical and rich and... urgent? imparative? something more. Another example is Famous Blue Raincoat. I'll take Tori Amos' version. Or Joan Baez, although that opening has a tinge of sad lounge singer to it. Actually, I like the version on The Best of Leonard Cohen better than this version. IDK. I just don't know.

It's Dylan. Dude's got a Nobel Prize in Literature for his lyrics.

Favorites: The Changeling (the guitar!) & Riders on the Storm.

Decent background listening. Light My Fire really doesn't belong on the album.

It gets as close as one can get to singing in a monotone. I almost took out the digital tuner just to see if he actually hits more than three notes in the entire album. I thought maybe I was missing some lyrical brilliance but then I started reading the lyrics and nope. I don't see the appeal. Sad Boomer music. There are many better sad options out there. And, wow, I really, really hate Green Eyes. That's a bunch of nonsense with a pompus voice over. Good grief. Wth was that? Ugh.

Listening to Elton just makes me happy. I love the musicality. Dug the long instrumental exit on Holiday Inn. Indian Sunset is beautiful if you take away or don't listen to the lyrics. I don't think I'd heard the title song before, but I liked it.

What a great listen. I really like the back and forth of the guitar and lyrics on Penthouse Pauper.

The album as a whole I'd describe as spaceship dreams. Someone must have written a PhD thesis in music on this album. What a ride. Will I listen to it again? Eh. If I could cut out the noise sections, maybe. But probably not.

I admit I'm a little baffled to encounter this on the list, but that's what I'm in this for: widening my music knowledge and exposure. I think I liked Romantic Theme the best. Baby Let's Dance Together was fun. The plot to this movie has got to be wild.

I'm not mad. It's a fun album.

Instantantly loved.

Pleasant listen.

Not sure why there are babies on the cover? Love the trombones! I'm pretty new to this project, and is the second album (30-ish in) that has sampled West Side Story. I wonder how many more there will be. And whether that cast recording will be in here, given it's clearly had influence over albums included.

While I wouldn't want to eat that cake, I'll definitely listen to this again.

Look, no one is arguing that Dylan has a great voice. He doesn't. That said, there's a certain Americana tradition to it that's especially apparent in Talkin' WWIII Blues. This is my second Dylan album, 38 albums into the project and, I mean, dang. I didn't realize HE wrote Blowin' in the Wind. I thought it was the Mamas & Papas. Girl from the North Country, Masters of War, Don't Think Twice, It's All Right, are all spectacular. There's a simplicity of the pared back instrumentalization and music that lets you focus on the lyrics and meaning of the song. It's a good balance, even with lack of vocal agility from the singer. I don't really see getting sick of these songs. I could probably leave I Shall Be Free.

I don't really love the breathy woman's chorus bits, or when things are overly repetitive (Lorelei hits both with one word...). I'm usually good with the funky groove and instrumentals here, but the vocals are not quite for me in most cases. The nonsense is definitely intentional, but... eh. I agree with the commenter who said every track is about two minutes too long. Did the world really need a longer version of Genius of Love? I don't really see myself listening to this again, but I don't hate it. I can even see pieces of it in future music. I actively skipped Booming and Zooming after the first couple times through.

Being all of a year older than Britney, I remember this skyrocketting into public conciousness. I also remember being horrified at the entire pop princess/boy band atmosphere that quickly followed. I agree with other commentors that the first three songs really are stronger than the rest. I also think those demonstrate the direction she'd go better than the rest of the album which just blends together (until The Beat Goes On cover which is fun). The moments that aren't just a pop slush don't generally stand out for good reasons. Soda Pop, Email My Heart are cringe. Born to Make You Happy makes me deeply uncomfortable. Hey, it's hard to make 17 year olds interesting, especially if their role is primarily to be cute and "innocently" sexy (barf), not to actually contribute in meaningful ways. This is definitely a product of a very specific culture I hope most of the country has moved on from.

Yesterday was Britney Spears. Ghost Rider and Rocket USA did not prepare me for the rest of the album. Cheree begins to get there and the dichotomy between the rhythm, lyrics and the... almost ice cream truck bells is eerie. It's gives stalker vibes. I really didn't need to listen to 4 minutes of foreplay ("Girl") or a decent into madness and dispair and murder ("Frankie Teardrop") but the propulsive pace of the album can't be denied. Will I skip those two tracks in the future? 100% (thank god I'm not doing these on vinyl). I can see how an angry and disaffected movement would be furthered by this work.

WTH were they thinking with Runaway Child, Running Wild? I can't even put into words how I feel about having a crying child wailing for their mother embedded in a song. I had to immediately skip to the next song. Jesus. Immediate down vote for that. Fuck.

Yes. More of this.

This is genuinely fantastic. I mean, it's Fats Domino. I couldn't find the exact album, so I made a playlist from other compilations: https://music.apple.com/us/playlist/fats-domino-this-is-fats-domino-story-of-soul/pl.u-38oWZ6WC2Gk4y

I enjoyed this album, definitely creates a relaxed and happy atmosphere. Great for a background sound, like most bossa nova. A Banda and You Didn't Have to Be So Nice (which strangely reminds me of the musical Oliver!) throw you out of that chill zone. They're out of step with the album as a whole. That said, I think You Didn't Have to Be So Nice is actually adorable and, honestly, seems like excellent parenting. Reading the full Wiki entry on Astrud Gilberto, I didn't realize Stan Getz was such a boorish tool who actively cut her out of deserved royalties from The Girl from Ipanema and took advantage of her in other ways. What a jerk.

I'm having a hard time taking the lyrics seriously. I don't understand German, though, so I'm aware that my inclination to giggle over them could be deeply innappropriate. He really does sound like Cookie Monster and I envision him looking/performing like Animal the Muppet (my favorite muppet!). Removing the lyrics, I can see the music being the soundtrack to a fairly intense action movie. I'll have to check out their newer stuff, especially the take on Bach's Fugue. Could do without Herz-Felde's loops. Not likely to listen again, but I doesn't make me want to peel my ears off, so, yeah.

Listened to it several times. It failed to make an impression.

For me, this is one of those influential albums just blend into the era they were created in. Sounds like generic 80s to me. The only song I knew was Smooth Operator, and it is now stuck in my head.

I love that this album really focuses on rhythm and does it with so many different instruments from drums, piano, marimba, each get their moment. I don't know that any other band I've heard uses cymbals they way Meg White does, and it's fascinating. I would guess that it'd irritate me, but it's just enough in exactly the right moment. Propulsive and fun. Really enjoyed this.

It was fine. Nothing really stood out to me.

This is an album that forces you to pay attention. It's a giant smile on the same face as eyes that tell you to fuck off. I need to check out his 2017 album Dark Matter to see if his satire and sarcasm bite as well for recent history.

The disappearance of one of the band members made more of an impression than the music itself. It's fine.

It's fine as long as it stays instrumental. I nope right out with their lyrics.

Honestly, this has a great chill vibe. Absolutely would put this on in the background and go about my business, whether it's chores, socializing, or just snuggling up with a book. There are lyrics, but they are just sounds. Essentially not much different from the occassional guitar lick.

Super chill, really enjoyed. Mostly sounds the same with a few exceptions (Marrakesh Express, Long Time Gone). I'm always surprised when they are categorized as Rock when I mostly associate them with Folk. I get that folk-rock is a thing, or was for a moment. Listened to the original tracks, not the 2006 bonus tracks (Everybody's Talkin', Teach Your Children, etc).

I liked this far more than expected. Fun Fun Fun on the Autobahn.

Turns out I'm okay without the computer telling me what to do. Skipped Fitter Happier everytime after about 10 seconds. Liked No Surprises. I need to dig a little deeper on the lyrics, because they don't typically stand out to me while I'm listening, but tracks like Electioneering are definitely still relevant more than 25 years later. Still not really a Radiohead fan, but I wouldn't turn if off, either. Like a cat.

I've been trying to figure out my thoughts on this one for the better part of a day. Ultimately, I think I'm more interested in Martina Topley-Bird than Tricky. It's interesting to me that Apple Music describes this as "a make-out must, but it's the pervading sense of danger that makes is so sensually sinister." I'm not really looking for romantic entanglements that can be described with "danger" or "sinister" so maybe that's my holdup. Black Steel was my favorite track which makes sense since it's a Public Enemy cover. Actively disliked Strugglin', Suffocated Love, and Abbaon Fat Track. Basically, the ones that felt most violent.

This mostly made me want to take a nap.

Dang, that VOICE. So rich and smooth. And Grady Martin on lead guitar plays such a beautiful counterpoint that belies the simplicity of the arrangement from the rhythm and bass. Elements of classical guitar and maybe even fado? Big Iron is such a perfect opener. Although I had heard El Paso before, I didn't know anything about Robbins before today. I was full of skeptism when this popped up, I think I actually laughed outloud when I saw the cover. Big Iron immediately made me sit up, pay attention, and reconsider.

It's a great album. If I didn't have to skip Voices of Old People every time, it'd be a 5.

I still have the Old Friends box set with their entire output even though I haven't listened to a CD in...17 years? Anyway, this album is classic and has many of their best work. In my imagination, once Simon got Garfunkel to sing Bridge he knew it was the pinnacle of their paring and they'd never top that song. They had to break up. I saw them at their Old Friends reunion tour in 2003, and I'm pretty sure Simon was deeply, deeply, stoned and Garfunkel inexplicably didn't change Bridge to a key his much older vocal chords could handle. It was an experience. I look forward to Simon's solo stuff popping up here.

I don't know who is who on the cover, but the guy in the hairy cardigan is clearly existing on a different plane than the other guys. This is also borne out in the album itself. It's got four feet in the fifties, one in the seventies. While I mostly prefer their originals on the album they only work because they're broken up. Without the lyrics (or with) it's apparent their original music is a variation of the same phrases with a different intro and tempo. Sometimes with a little Chuck Berry thrown in for variety. The transition to Have Love Will Travel (not original) to Psycho (original) is wild since the rhythm is so similar. I initially wanted to say that The Witch is by far the best track, but after listening to it multiple times, it's sort of metronomically plodding. Very square. The same with Boss Hoss. They find a lick they really like and just lean into it. Repeatedly. I'm done with Garry Roslie's screaming. Too much of a good thing used as filler. Waaaaaoooh. Psycho.

I’ve been meaning to listen, but hadn’t gotten around to it yet. I didn’t know what to expect, but I completely fell in love. Excellent fusion of style, technique, and genre with seamless transitions. Do I get extra credit for immediately listening to Metropolis first, then delving into ArchAndroid? I just couldn’t start with part 2.

When this popped up I honestly thought I was being punished (another obscure 60's UK band!) for having such a great run this week with Simon & Garfunkel and Janel Monae, but I was WRONG. This is a DELIGHT. Butcher's Tale has a haunting quality that reminds me of Days of Future Passed (The Moody Blues). Touches of it in Maybe After He's Gone & Changes. Holy shit, Time of the Season is The Zombies. Iconic.

I have to say that I was thrilled to get this album. I'm not sure I've ever listened to the whole album, although I can't imagine I could have avoided it. I am certainly familiar with the cover. I expected to give it a 5, but I think it's a 4 from me. "She" still feels too relevant once you actually listen to the lyrics. Listened to the original track list, not the 30th Anniversary Deluxe Edition with 5 discs, 65 songs, that runs for 3 hours 21 minutes. That is excessive.

A good speaker matters with this one. Sounded quite different depending on what audio set up I put it on. The vocals seem to range from whining to moaning to screaming. Never with much articulation. Oh, let's not forget the... moo-ing... on track 13. Good Enough gets a bit jangley for me. Were they intentionally dissonant in Don't Fade IV? I'm glad that I can now say that I have listened to Mudhoney and that I do not like them. That's two Seattle bands in the last week that are a no for me (the other being Here are the Sonics by, you guessed it, The Sonics). Hopefully, they don't take my residency away. Listened to the original 14 song, 42 minute album, not the bloated 29 song 30th Anniversary Deluxe Edition. Ugh. I can't even imagine wanting to spend close to 90 minutes with this. Every Good Band Draws Fans. Not this time.

Yeah, wow. If you can appreciate the sounds of seagulls, whales, breaking glass, human seizures, and an out-of-tune bagpipe with a first time player, this is for you. I get punk. I get avant-guarde. I get the anti-establishment overlap and the relation to underground music and sound collage. I just don't want to listen to noise and nonsense. I like my ability to hear too much.

There's nothing wrong with this album. Clean sound, solid musicianship. It's just boring. Walk Between Raindrops sounds like a collage a cappella group's dream.

I liked it more each time I listened to it. It definitely gets stronger after the first songs.

Look, this was always going to be a 5.

Well, I listened to that.

I have never heard of this band and I don’t recognize anything on this album. I was sold from the first song. This was fantastic. The snarling in That's Entertainment, really hammers home the sarcasm/derision. Fascinating. Love it. I’m going to give it a four, but I hope I don’t regret not upping it to a five like I do with Hall of the Crimson King and Marquee Moon. (Why can’t we edit/change our minds?!)

This is just a lovely album. The influences are so interesting, from Dolly Parton to Paul Simon, to disco and ELO. I love the banjo in Oh, What a World; it's so assertive and unexpected, but fits.

My 10-y.o. came home while I was listening to this and needed to comment "There's a lot of swears in that."

Heard of Dire Straits, hadn't listened to them. Had definitely heard radio edits of Money for Nothing and Walk of Life. It's a lot of steel guitar for something not considered country. Minus one star for the slur. I'll pass.

I'd never heard of this band before. Is Ska Punk a genre? Rowland's vocals are the weakest factor of the album. The horns are spectacular, especially Paterson's trombone. Very tight. "Everything I do will be funky from now on."

I enjoyed this album, and I'd listen to it again. It was great to listen to while working, and again while making dinner and cleaning up. The kids didn't object to it. I actually really like the instrumental tracks. It's a good groove, especially in the background. It's never going to achieve sing-along status.

This was magic.

It's fine. Solid. I wouldn't turn it off, but nothing really sticks out. It all blends together. There are other BritPop bands I like more. There are other Oasis albums I like more.

It's interesting to learn that this album was wildly different than everything else on radios at the time. It definitely sounds like R.E.M., but doesn't sound like anything else I know of from the era.

You know, this grew on me over the course of the day listening on loop. Mostly it's the excellent and unusual guitar.

It's Coldplay. The album sounds like one 54 minute song. Not bad to work to or fall asleep to, but nothing I'm ever going to put on independently. I've never understood the hype, and I was 100% in the target audience at the time.

Aw. This album is real nostalgia for me. It immediately makes me think of my uncle and listening to this on vinyl with him as a kid. Warm happiness.

Springsteen is this mythical everyman and you're expected to love him, and I suppose, specifically this album, if you are an American. It's certainly unavoidable to know/recognize a handful of his songs, but I've never listened to a Springsteen album. This is my first. It's like... if Johnny Cash liked Elvis and Don McLean but really hated steel guitars. Some lyrics haven't aged well (not sure they were ever great... see: I'm on Fire; Born in the USA). It doesn't do anything for me. It's fine.

*eyeroll* This is music for horny adolescents (of any age) who objectify women and don't realize how toxic that is. But, I suppose when 30-year-old's sing about homework, I don't know that I should expect anything else. I imagine hip thrusts are frequent stage moves. This album made me cranky. Jump is only popular for the synth and guitar. Certainly not for the lyrics. Which, perhaps can be said for the entire album. Ugh.

I have to laugh at Just Out of Reach, because it sounded like the women's chorus was singing "just out of reach of my NPR." I don't really dig that style of backing vocals, so I was glad they only showed up on a couple tracks. This is a truly great album. It needs to be added to my rotation.

Better than expected. Seems like their lyrics are sometimes more about sound and rhythm. Other times they're just dumb.

It's a great album. Got a little sick of it after about the 5th loop through.

What a great album. How Blue Can You Get is fantastic.

This was fun. I don't get the impression that they take themselves too seriously, which I appreciate, especially for this genre. I'd listen to it again.

This is not what I look for when I want to listen to music. I'd probably rate it higher if it was a spoken word performance. But apparently it's "Alternative" or "Rock."

For all practical purposes, this is the only MTV Unplugged concert.

I made it through a little more than twice before I had to bail. Cool album cover though.

Turns out I prefer Randy Newman in small doses.

Ladies and gentleman, how do? Fuckin' great after being assigned this album!

Requires close listening, not casual.

I like several of these songs, but the album as a whole is too long, and I just don't see revisiting it.

Initial reaction: I like The Kinks, but apparently not this album as much. It's whimsical, but maybe not whimsical enough to be interesting? Later: It grew on me with repetition. Waterloo Sunset is pretty great, though. FYI, a harry rag is a cigarette - tobacco or pot. One of my least favorites on the album.

I thought I hated metal, but I enjoyed this.

Enjoyable. Missing the sparkle of her later work.

111 albums in, my third Leonard Cohen. I have to confess, I was not excited about drawing this today. I like it a bit better than Songs of Leonard Cohen and Songs of Love and Hate, but... this style is still not really my thing.

Bitter Sweet Symphony immediately throws me back to getting rides home from my friend Justin senior year. Scrounging for loose change to pay for gas. Getting confused whether it was The Verve or The Verve Pipe with the song on repeat on the radio. Nothing on the rest of the album stands out.

Ok, 1965. Brian Wilson is 23, Dennis Wilson 21, Carl Wilson 20, Mike Love is 24, and Al Jardine 23. It's weird to realize that this is their EIGHTH album and they've only been a band for four years. Several of them were married. Given their youth, and likely... distorted view of life due to fast fame so young in an era where misogyny was standard, but... Some of the lyrics are creepy as fuck: Good to My Baby: "They think I'm bad and treat her so mean, but all they know is from what they've seen / and when I get her alone now, you know we're happy as a couple could be / and when I giver her my love it's between her and me." Sounds like a classic abuser and rapist. Don't Hurt My Litter Sister: "Why don't you love her / Like her big brother" ew. Help Me Rhonda He's begging Rhonda to have sex so he can forget about another girl who dumped him. Please Let Me Wonder: "I built all my goals around you / That some day, my love would surround you / You'll never know what we've been through / For so long, I thought about it / And now, I just can't live without it / This beautiful image I have of you" So, basically, stalker vibes. She Knows Me Too Well: He places unreasonable expectations on his girlfriend. He "treat[s] her so mean." He's jealous, "And then I'm not happy 'til I make her break down and cry." Wow. Great harmonies can't overcome that.

I would like this more if it were sea shanties.

I knew Enjoy the Silence and Personal Jesus. Both stand out, the rest blend in. Nice to work to.

For the most part it's a chill velvety vibe. For the most part for me it fades into the background - until The Murder Mystery plays. It's unusual, and I could see it being really powerful if there wasn't so much lyrical nonsense. That said, Moe's voice is... innocently bad. I don't see myself revisiting this.

I know the album is only 28 minutes, but it felt a lot longer than that. Lynn has an excellent voice with fantastic control, but, and this is just my preference, a bit too much vibrato for me. I'll take Dolly or Patsy over her. I don't mind it, but no single song stands out, and I don't see myself coming back to it.

I had this issue yesterday with Loretta Lynn - I'm fine with old country as individual songs, but the same artist for a whole album is a bit much for me. This album definitely feels like it set a tone for multiple subsequent generations of country.

There are some real epic songs on this. Nothing Else Matters is my favorite - and you can see how that telegraphs S&M. This is the third album of this project that has sampled West Side Story. Apparently, I'm keeping track. I'm only 122 albums in, but the first two were: School's Out by Alice Cooper and Siembra by Colon & Blades. I guess I should expect WSS references once every 50 albums or so? Probably the best argument to add that cast album to the list if it's not already there.

I find myself wondering what Curtis Mayfield sounds like when he's not using a falsetto. The album cover is amazing.

What was most noteworthy to me was how the album comes full circle; when you reach the end the restart is almost seamless. Ray of Light, I think, still stands as a solid dance song. Unfortunately, this listen showed me that I'd misheard lyrics all these years. Always thought she was saying "And I feel/And I feel like a disco ball." Honestly, I like that better than "...like I just got home." I hear the influence on Olivia Rodrigo. This doesn't really do it for me. I actively dislike Candy Perfume Girl and Little Star. And I don't like how her eyes on the album cover follow me everywhere.

You know, I really like this. Especially after I stopped attempting to figure out the lyrics and just went with it. I can see how this accelerated dream pop. The vibes are strong.

All Along the Watchtower has been a favorite for a loong time. So good.

I knew Flaming Lips was a band. That was the extent of what I knew about them. LOVED Fight Test and I wanted to give it bonus points for the Yusuf Islam sample, but Coyne's weak lie about using Father and Son is off-putting. Nothing else on the record really got near that song for me. Don't really love the Yoshimi Battles the Pick Robots with the screeching, nor how repetitive it is. I am also reminded of Monae's ArchAndroid (which is obv. 8 year's later). I like Monae better.

It's not bad, it's just forgettable.

It's just noise, for the most part.

I'm happily listening along, and then obnoxious beeping, bleating, or grunting comes along to assault me unprovoked. I'm all for experimental exploration, but it's in your best interest to leave your listeners better than you found them. Or at least not deafened.

That bass line in the opener is fantastic. Is this my favorite rap album? I've never even heard of this group before (not difficult), but the melding of rap and jazz and positive messaging really works for me. I'm not sure I've ever heard anything like this. This album brought me joy. So well done. Loved the little kid on After School.

This was a groove. My only exposure to Kuti was the stage musical which was not great. I'm glad to have had this exposure, as I'm sure I would never have sought it out.

I don't know what to say about this one. It's fine. I'm neither going to seek it out nor turn it off if it comes on.

It's okay if you want to make fish cakes.

The parts where it feels like they're stabbing my eardrums are my favorite.

This was not energetic enough to keep me going on a summer Friday.

The elation that came through upon seeing this album pop up. I don't even know the album, but I am familiar with Basie. This was a joy to listen to and a breath of FRESH 64 year old air. The list needs more jazz.

WT *actual* F was that? Just no. Breaks were needed to get through the entire album. And why did it have to be a double album? ugh. This is actual bullshit, and it sounds like Beefheart/Van Vliet was an abusive asshole, so this is the one and only time I'm listening to this album. Yes, to the whole thing. I committed to this project. Full album on YouTube, if you dare: https://www.youtube.com/watch?v=aF0g-2SeoMM&t=214s

The easy standouts were the two songs I was familiar with, Let's Stay Together and How Can You Mend a Broken Heart. Will happily listen to this again.

I'm not sure it needed to be a double album, but I wouldn't turn it off.

I remember when this came out; it was such a surprise to teen me. I love how the symphony fills out the sound, softens it somewhat, and makes it overall warmer. I'm going to pick this over other Metallica albums every time. Of course, in general, I prefer classical over metal.

I didn't hate it, but it didn't stand out, either.

It's fine.

It was a nice album to listen to while working. I definitely knew a few songs.

Definitely knew The Weight, nothing else stood out. It's a laid back album. I'm not going to scrutinize it closely, but it feels like (most) every track is the same plodding tempo. Bit sleepy. Songwriting's great. Not enamored with the vocals.

I don't really have anything to say about this one. It was fine.

This is solid.

Where has this been my whole life? I resent that I didn't know about Machito. I may need to have words with my high school jazz band director. The horns are immaculate. The percussion precise. The groove impossible to ignore. It's joy to listen. MORE JAZZ PLEASE.

I'm good with this. Solid usually synth beat. Sometimes cheesy rhymes. I'm not going to listen to it over and over, but I won't turn it off if it comes on.

It's more vibes than songwriting.

I really enjoyed this, and while I might not remember to listen to it in the long run, a relisten after the weekend maintains.

Immediate reaction: Fucking Nick Cave (unflattering) Since this is my third Nick Cave album in 150 generated, I had to check how many more I have to subject myself to. Turns out, one of you finishing fuckers must have added Ghosteen, since that's not listed on the book site. At least 2 more. Maybe they'll pop up soon and soon I'll never need to listen to this pompous ass again. They Lyre of Orpheus is especially obnoxious.

This was enjoyable! I'll probably forget they exist, but I would not be sad to listen to this again.

Cobain is fairly difficult to understand through his mumbling in the best of circumstances, it gets much worse when he's screaming. Low points: Scentless Apprentice, Tourette's

Wow, this is... something. Very campy, I *think* intentionally? I hope. Odd references to Cold Comfort Farm & A Tale of Two Cities. Whomever said it sounds like a bad (Casanova) musical with songs out of order is right on. It certainly stays on (the Casanova) theme. No idea why this is on the list. Not a 1 simply because if I don't pay attention, it's not always terrible, the orchestration is fine, but I don't ever need to hear it again. I'm pretty sure I maintained a look of disgust anytime I actually listened to the lyrics. His singing is more cheese than anything else, not unskilled, but not serious.

I have heard of Black Sabbath. I certainly know who Ozzy is, but mostly because of his reality show, which was, for a minute, somehow unavoidable. Before today, I'd never knowingly listened to Black Sabbath, and wouldn't have been able to name a song, album, or even that this was the band Ozzy was in. Honestly, this was great. I really appreciate that Ozzy actually sings with some skill, and the guitar and percussion are fire. Love the instrumental, Laguna Sunrise. This is far more melodious than I would have guessed.

Not much to say. It's solid. I enjoyed listening to it.

On paper, I should have loved this. I dig folk, and when I was in choir singing in Latin was my favorite. But this didn't scratch the itch I wanted it to.

Why didn't anyone tell me the Violent Femme is 3-4 dudes? Misleading. Great album.

I think this was too long which sort of buries the gems and makes it unfocused as a whole. At the same time, I appreciate the stylistic variety and her absolutely rock solid vocals. High points: Can't Hold Us Down, Fighter, Beautiful Low point: Loving Me 4 Me (feels very male gaze)

Much prefer It's Blitz to Fever to Tell. Partially, I think, due to the tinge of manic Karen O brings to some of the lyrics here, particularly the repetitive lyrics (tick, tick tick; uh-huh, uh-huh; yeah, yeah; choke, choke, choke; etc.) which, I know is a personal turn off. Low point: Tick, Black Tongue I waver between a 3 & 4. As long as she isn't screaming tick, tick, tick at me, I really enjoy it.

I've had Take On Me stuck in my head for 24 hours now.

idk, the first song sounds like a combo of southern rock and Monty Python. I'm not really sure that's a must hear mashup. Is this album here on the strength of inspiring Joe Cocker's cover of Feelin' Alright? I'm certain it's not because they're singing about a 13 yo virgin. Right? *looks askance* I somewhat irritated that this sounds so much like so many other albums from the 10 years around it, and yet what's been expunged from the list is exclusively stuff from the last 25 years, yet we get three dozen albums like this. I get that hindsight is the whole thing, and we're all products of our generation but c'mon.

I can legit listen to this album over and over on a loop and not get sick of it. That's the definition of a 5 for me. At one point in my life Feelin' Groovy was my least favorite S&G song, but then I had kids, and damn if "I'm dappled and drowsy and ready to sleep/let the morning time drop all its petals on me" isn't just the best to sing to them.

This really did nothing for me.

Run for Your Life is a disturbing note to close out on, but dang, the album is so good. I'm tempted to dock a point for it, but in 30 years of listening to the album it's the first time the lyrics have sunk in.

The troubadour connection seems clear. It would be interesting to listen to the orchestration sans lyrics, and read the lyrics sans music. If I have to listen to Leonard Cohen and fucking Nick Cave so many times, then this is fair game. It's 100% better than godforsaken Pere Ubu. Definitely hear the Fiona Apple & Bjork in there.

Idk. Seems like the dude is reveling in female misery.

It's not the Ella album I would have picked, but I understand that it was part of a turning point in music. When you look up scatting in Wikipedia there's literally a picture of Ella. It's a pity that we don't hear any of that until the last song on the fifth disc - and the sixth disc is entirely instrumental. Real glad it was assigned on a Friday.

It's a jam.

I appreciated the blend of genre and styles.

I mean, obviously, they aren't going to be my new favorite band. But it's enjoyable.

I'm so torn between a 3 and a 4. The term "shreds" exists for albums like this. Each player is absolutely a master of their instrument. And I can't understand any of the lyrics. It's not just noise, but it also didn't make me stop and say, wait, now THIS song is really something. Is that because they're all fantastic, or because they lack distinction? For my limited experience, it's definitely better than others in this genre. 3.5

There are some really great tracks on this. Take Me Out, The Dark of the Matinee especially.

You know, this really grew on me over several listens. I figured I'd like it, but the first time through I was very meh.

No one sounds like Rufus Wainwright. I see the evolution to this point, and it's definitely a continuation of Want One, but, while it's lovely, I don't really see it as the essential representation of his work. At least not over WO.

I feel for my fellow listeners who got this album the day after the American election and just couldn't. There are some really great, propulsive, fun tracks on this. That may not match with current personal/political energy.

I mean, it sounds like Jack White. It's listenable or ignorable. I think he better reps his ability on other projects/bands/albums. 3.5

Rap's a stretch for me normally. There are moments where this works, moments where it's just guys being dingbats with their buddies, which, eh. Otha Fish was my favorite.

This was my third rap album in a row, and none of them were Jurassic 5.

Man. I know I say this every time but rap isn't my genre. Even I can't deny that this is great. The rhymes and flow is better than about any I've heard. It doesn't really feel like the grittier bits are glamorizing - it feels more like he's reflecting the environment he knows. NY State of Mind, Life's a Bitch, and The World is Yours, Halftime are standouts.

He chooses what he sings and how he sounds just like he chooses to wear those pants. None are good choices.

I can see listening to this a lot. Very enjoyable.

I've never heard of this or John Martyn and my first impression upon seeing the cover art was "Wow, ok, I guess we're in for textbook yacht rock. Is that... a mermaid?" Well, listened to it 3-4 times. It'd be really great without lyrics.

Queen.

oof. The reason Imagine worked for Lennon is that it's pared back. This was just too much. Too many singers, too much going on in the background. The best part is about 3 minutes in where it's just strings and percussion. That glaring outlier aside, the rest of the album (playlist on YT) I appreciate being exposed to a pinnacle example of a musical genre I only really hear in movies.

Great background music.

Know the name, hadn't listened to him before. Super solid. Favorite might be Waiting for the End of the World? it's definitely the one that made me stop and pay attention each time through the album.

This is my fourth Bowie album here. They're all great. The weird thing, is that, to me, there's usually just one song on each album that's just standout amazing. Obviously, here, that's Golden Years. I am beginning to think that for most people, they'll get the Bowie they want in a best of compilation.

Not sure what the Generator is trying to tell me with three punk/post punk albums in a row, but I'm not mad.

Meh. There's probably a reason this isn't available on streaming services.

It's interesting. Probably not going to seek it out, and I don't personally need a sitar version of the Rolling Stones or the Doors, BUT, had I been a British-Indian teen and this came on at the club in 1970, I can very well see how impactful it would be. Personally, liked the traditional stuff better.

Didn't hate it. Actually liked the nature sounds in Flow My Tears the Spider Said.

R.E.M has just always been there, but I've never dug into them and listened to full albums. Now that I'm 2 of 4 in from this project, I regret that. Stipe's vocals are so distinctive and R.E.M. always sounds like R.E.M. and nobody else. Yet there's enough musicality that it doesn't sound like the same song or album over and over; you aren't going to mistake one for another. That can't be said for so many of the albums I've listened to for this project (this is #208).

The beat is frogs.

This is a booty call. One where you shouldn't answer the phone.

Bass is amazing. Works when there's a swift tempo. When he slows down it's a bit cringe. Girlfriend is unlistenable, She's Out of My Life is... well, melodramatic. Overall, MJ is a tragic figure; a product of a difficult upbringing and an ultimately distorted reality that led to harmful choices and impulses.

I liked it more each time I listened through.

It's a bit long, but a pleasant listen. I can definitely see listening to it again. I remember how ubiquitous it was when it came out.

I'm sorry, am I the only one who burst into laughter with, "I used to be darker/Then I got lighter, then I got dark again"? Or when he remembered being a horse? Despite his delivery, I'm having a real hard time taking this seriously. I'd LOVE to hear different lyrics (not nonsense) set to the music. Do you ever wonder what session musicians think of what they're playing? "How? How? How?" A whole dang album of this. Wow. "Sometimes I Wish WE Were an Eagle" so who is he merging with to become an eagle? One of the horses on the cover? Slightly more tolerable than Nick Fucking Cave, at least.

It just hits. I didn't know Darlene Love's name, and now I must look into her work. Could definitely do without the murderer's monologue. Maybe there's a version of the album that cuts it?

Too long in every way possible. Came real close to being my first dnf (218 in).

I don't hate it, it's pretty relaxing, except for the section of Svefn-G-Englar where he's repeating "It's you" or whatever over and over which just grates.

The first three tracks are iconic. No matter how you feel about the rest of the album or U2 in general or Bono in particular, those three songs have burrowed their way into our collective subconscious.

Great for elevators and falling asleep.