My dad and I have spent a generation fighting about this album, most particularly whether Cecilia is a good song (I say it’s fucking great; he hates it); whether Art’s solo vocals on Bridge or the harmony part is better; and which song is better, The Boxer or Only Boy Living in NYC. Honestly, we’re both right on all of. I am undeniable biased on this album, which is great, but my memory of it is even better.

This alum was Anthrax awaking as a Big-4 Thrash band (Metallica; Megadeth; Slayer). It was filled with hardcore kick ass but unlike their Big-4 counterparts Anthrax also liked to have fun. My first introduction to them was the succeeding EP called I’m the Man, where they became the first rap-metal band. I use a gavel in my classroom that is inscribed with I am the Law” from this album. Indians might be considered cultural appropriation today but back then it was a stadium anthem to get the crowd cheering. Anthrax when one to create other better (and worse)albums but this one still stands the test of time. Of their eleven albums I’d put this at #5, which should be a “3”. Personal bias stealing this from my brother on cassette included and four great tracks, I’m going to give this a 4!

Growing up in the 80s it was inevitable and impossible to not hear Van Halen as part of daily life. There’s a lot of speculation on who was better: David Lee Roth or Sammy Hagar. In truth, both were great in their own way. This album showcases the raw energy and talent of David Lee Roth in his prime. He may not have been the best singer, but he was definitely the better showman. What made this album great at the time was were bands, like Rainbow, Black Sabbath, and even Journey, which were each going on their own path towards darker or more serious, Van Halen produced a juvenile rock that was backed by extreme talent of its four members. Eruptions ear-splitting technique revolutionized guitar, while songs like You Really Got Me Going and Running with the Devil were coercive works of mastery. One of my favorite songs this listen was Ice Cream Man, partially because the double entrendre, and its bluesy-rock roots. This album still translate to fresh rock and energy.

Psycho Killer is not my favorite song on this album. There: I said it. Actually, there is something about that song that has always annoyed me. The rest of the album was interesting in a good way. It was Peter Gabriel weird but better! Tina Weymouth doesn’t get the credit she deserves as a bass player. The key track for me was the opener Uh-Oh, Love Comes to Town, and New Felling.I kinda’ get the Talking Heads fascination now. Who knew all you had to do is actually listen to the album first? 🤯

I don’t know what I’m listening to. Is it Indian, but she’s singing in Spanish? Is it techno-pop, trance, rock? Is that Caribbean flamenco?? It sounds the Middle Eastern acid-addled love child of Bowie, Shakira and Enigma was delivered by the B-52s! …and I like way more than I should! I get why I have never heard of it: it’s way to weird for a mainstream American audience. It’s a shame! Key songs for me are the opening track Visions of You and Ezequiel. I may be voting way to high on this but I’m blown away. This is getting a few more listens.

This was always a classic growing up. I actually got this album signed by Ray Manzarek before he died. Watching him play “Riders” live was life defining. There are so many great songs that returned to their true rock form. It’s not my favorite album of theirs but that’s not to say it’s not an all-time classic! Great first pick.

This was a new one for me. I wan’t sure what to expect going in, especially having so little prior knowledge. The album is really well recorded and the songs a vibrant reflection of where my mood wanted to be had it not been flipping a ream of papers to be grading and responding to the endless barrage of email which kind of blended the songs into one continuous flow. I am definitely going to relisten tonight when I can void out the world and take it in.

I’m going to say it: this is not the best Beatles album. There are so many good songs on here I listened to throughout my life. Hell, my daughters are named after Beatle’s songs/albums. But this album as a whole is plays like the Beatles were on a crapload of drugs. Probably because they WERE on a crapload of drugs. It’s a good album and I own it in several format, but as a whole concept it feels…at least to me… a jumble of ideas of a band trying to find itself individually and collectively. Taxman followed by Eleanor Rigby is a jump, then a bigger jump George’s Indian-influenced “I’m only Sleep” leading to two more songs and the ever so popular “Yellow Submarine”, which all culminate to a center theme: drugs. It lacks the poise and polish of Hard Days Night, the pop sensationalism of Please Please Me, the experimentation of Rubber Soul, the fun of Sgt. Peppers, or the personal resolution of Let It Be. It’s more of a placeholder. Again, just one guys opinion.

When I first heard this as a teen I was expecting License to Ill, which this album was not. The older I got, the more I appreciated this album, when it came up today I had no complaints about a re-listen. Much like Paul’s Boutique itself, there are so many quotable lines and riffs on this album. High Plains Drifter is a weaving lyrical masterpiece. Hey Ladies and Barrel are fun and gangster at the same time. The only reason this is not a 5-Star is the massive Rick Rubin overproduction is not my personal preference (favorite B-Boy album is Check Your Head). Some say it is the one of the best albums of the Golden Age of Rap. I can’t disagree that it might be.

After Li’l Kim changed rap to a sex-game and Nelly turned into club bop, I thought rap was dead. I could have used this album in 2002 to prove it wasn’t. Favorite tracks incl. High Fidelity and amazingly the groove-driven instrumental Acetate Prophets. This is getting listened to again….

I saw this and was thinking Sean dresses and screaming. I never particularly cared for this Icelandic princess. I have say, though, I was pleasantly surprised by how good this album was. What I appreciated most is you can here the Gaga, Ray-era Madonna, the Radiohead, Oakenfold, Alanís and so many others, but this predated them all. Standout tracks were Human Behavior and Violently Happy. Inclusive of the historical influences this had on other artists , I gotta go 5-Star on this one!

I saw this and was thinking Sean dresses and screaming. I never particularly cared for this Icelandic princess. I have say, though, I was pleasantly surprised by how good this album was. What I appreciated most is you can here the Gaga, Ray-era Madonna, the Radiohead, Oakenfold, Alanís and so many others, but this predated them all. Standout tracks were Human Behavior and Violently Happy. Inclusive of the historical influences this had on other artists , I gotta go 5-Star on this one!

Normally I enjoy a little psychedelia. If I was a 15th century Irish stoner this might appeal. Otherwise, I’ll pass…

I think we often overshadowed by Courtney loves relationship with the musically superior Nirvana front man Kurt Cobain and her own irrational behavior which, honestly, left me feeling turned off my the spectacle. It’s honestly a shame because this album is well constructed grunge music rock in a post-grunge era. The classic single Celebrity Skin is a fun song with punk flair (personal favorite) down-tempo songs like Hit So Hard and Dying show a rare depth for both the artist and music. This album definitely deserves more attention that it got.

I have always respected Curtis and his cultural influence but have had a problem personal with his music. My introduction to his music came from Beastie Boy samples and later Blacksplotation movies (Shaft; Fox Brown; etc), which makes it hard for me to separate in my mind. Additionally, his music was a reflection of his world-1970s post-Soul urban New York. Being a 21st Century whiteboy from Colorado leaves me with little context for connection. Plus, I’m not a huge fan of falsetto. His beats and rhythms are good. Key songs for me on this were So In Love and Love to the People, both which have a distinct groovy feel. Overall, he has my respect but, honestly, I wouldn’t look for this album on a Saturday afternoon.

White Stripes is one of those bands that gets better the old you get. They’re weird wall of sound and sonic explosion was so different from everything on the radio it takes a few listens to love from “what is this” to a state of true appreciation. Favorite tracks are the blues-based My Doorbell and oddly The Nurse (rock xylophone…who knew?!) There is genius in each spin!

I would never claim to be a huge jazz fan but I have always had an appreciation. Blame it on Ms. Valdez from junior high or Mr. Steven’s from high school. The DBQ has always been an easy-listening album of songs written by talented musicians dedicated to the craft. I can’t think of how many movies have used Strange Meadow Lark or the most famous Take Five, which I just watched in the John Cusack movie Serendipity. Reasonable so, they are my two standouts from this album too. Jazz isn’t my first go-to, but I could definitely listen to this album again and again.

Whenever I hear this album I always feel like he was writing my story: “ I love when they call me big papa; I wear 13’s if you know what I mean”; “damn,_______ want it stick me for my paper”. … No, it doesn’t. Matter of fact if I would have called any woman I know a “bitch,” they would ”bring pain, bloodstains on what remains”. His talent is unquestionable. This is a good album but it flow like fantasy. Much like the Curtis Mayfield song that starts this album, this album holds up for those who live in the culture, which I do not.

I don’t know what I’m listening to. Is it Indian, but she’s singing in Spanish? Is it techno-pop, trance, rock? Is that Caribbean flamenco?? It sounds the Middle Eastern acid-addled love child of Bowie, Shakira and Enigma was delivered by the B-52s! …and I like way more than I should! I get why I have never heard of it: it’s way to weird for a mainstream American audience. It’s a shame! Key songs for me are the opening track Visions of You and Ezequiel. I may be voting way to high on this but I’m blown away. This is getting a few more listens.

I introduced Beck to my daughter a few weeks ago as “The King of Alt-Wierd”. He was the first and only artist to perfectly blend country, pop, rock, psychedelia, and whatever else he was listening. Odelay and Guerro are mind blowing! This album is not. It’s not that it’s a bad album: it’s a highly personal ode to a series of changes in his life. It’s well written. It’s masterfully performed. Songs like Paper Tiger and Around the Bend are soft and reflective. For me, it sounds too much like mid-00 Wilco, which I really liked and given the choice would probably choose first. This is a good headphones and bottle of red wine after a shitty week album, but outside of that not an everyday celebration.

It was impossible to be a metal head in the late ‘80s and ‘90s and not know this album. It was Metallica firing on all cylinders at their career best (arguable ever). Hell, the first song I ever wrote was based on a riff I lifted from Disposable Heroes. Songs like Sanitarium and the title track helped make the entire genre. My favorite, though, was the instrumental Orion because it showed in detail the musical talent of each musician in their prime. Not only did Cliff Burton pen one of the most recognizable bass lines 1/2 way through (I spent so many hours learning and practicing it) but also plays the final distorted solo which for years I thought was Kirk Hammett. Metallica went on to have many great bass players but they were never treated with the dignity they gave Cliff whom died supporting this album. This was his Opus.

This album was okay. I think if I would have heard it when it came out in the early ‘00’s I would have loved it. Now it just feels too familiar, like reruns of Friends. Pounding is a pretty good song I could return to but nothing else really grabbed me in a way that would draw me back again and again.

This alum was Anthrax awaking as a Big-4 Thrash band (Metallica; Megadeth; Slayer). It was filled with hardcore kick ass but unlike their Big-4 counterparts Anthrax also liked to have fun. My first introduction to them was the succeeding EP called I’m the Man, where they became the first rap-metal band. I use a gavel in my classroom that is inscribed with I am the Law” from this album. Indians might be considered cultural appropriation today but back then it was a stadium anthem to get the crowd cheering. Anthrax when one to create other better (and worse)albums but this one still stands the test of time. Of their eleven albums I’d put this at #5, which should be a “3”. Personal bias stealing this from my brother on cassette included and four great tracks, I’m going to give this a 4!

I have to admit: I didn’t know they had more songs than Bittersweet Symphony, which I always associate with the Cruel Intentions movie. This album is actually pretty which makes me guilty for never exploring it prior. Key songs for me are BSS (obviously), Catching the Butterfly, and Come On/Deep Freeze. This is one of those lesson learned albums: if you really like a song, explore more from the album.

I’ve never need a huge Thin Lizzy fan. They weren’t heavy enough to be heavy metal; not camp enough to be Yatch; not emotional enough to be soft. They were always kinda “mid” to me. This album shows the kind of powerhouse they were live, which sounds like a good party. Boys Are Back has always been a good song. However, among the titans of Classic Rock, even their live album comes off as, well, mid. If I wondered in to this concert I would enjoy the band and probably respectfully talk about them to friends if I remembered their name, and eager await the main act.

Whenever you get Beck, Jack White and the Beastie Boys together how can you go wrong! This album brought back what Beck does best: blend weirdness into wonder! Key tracks: ePro and Go It Alone, though the entire album is repeatably good!

“I'm completely stoned / I'm hippy and I'm trippy / I'm a gypsy on my own / I'll stay a week and get the crabs and Take a bus back home.” That’s all I can say. It’s like Zappa was attempting to take the most drug fueled parts of the Beatles and wash it down with a speed ball and a bottle of French Absinthe. Van Gogh wasn’t making an artistic statement when chopped of his own ear, he was listening to this album. Pass…

I was introduced to Royksopp in the height of the Nuevo-techno era in the early 2000s with their album The Understanding. That album was a club bop. This one sounds like the soundtrack to a martini bar. I’ll take dirty ‘Tini with three olives so I can leave please. Kind of forgettable

In truth I was never a fan of Smashing Lumpkins, however, this album has all the ‘90s rock edge and not the alt-emo-nasal-whine of their later work. Key tracks for me are Hummer (which my copy has a skip in due to a scratch on the CD and it sounds weird not hearing it on Spotify), and a Cherub Rock, a song that was inescapable in the ‘90s. This is overall a great flashback album even for the non-radio hits you may not have heard.

There is only so much room to wax poetic about Led Zeppelin’s opus. Simply put: “Ramble On” has always been one of my Top 3 favorite songs. “Thank You” was the recessional song at my wedding. “Killing Floor” was huge introduction to my love of blues, and I can’t say how many times I rewound “Whole Lot of Love” trying to figure out the reverb section (it was an overdubbing accident). This album should be listened to repeatedly on high volume preferably with headphones. An absolute classic!

I really wanted to dislike this but didn’t. It was a soft opening to a Monday morning. I kind of wish I had a hangover to enjoy it more. I don’t know if I will ever look for this but not bad!

Erin go Braugh! ‘Ve heard this album many-a-Patty’s Day! I love that the Pogues took traditional Irish music and blended it with a bit of New Wave and rock. It really did set the foundation for later artists like DropKick Murphys and the Corrs. Key songs “The Sick Bed” and Jesse James. Raise a glass!

This wasn’t a bad album but nothing really grabbed me. I think in the arena of ‘80s pop there were so many greats good just doesn’t cut it. Nothing really caught my attention on here.

This was a weird album: it was like modern pop mixed with mid’60s indie vibes. Key tracks for me: Greenman & Furious Tonight which sounds a lot like late ‘60s Turtles. You would have never guessed this was produced in 1999.

Some say the best rapper of all time was Biggie. Some Tupac. I would have to argue that it’s the triple threat Lauren Hill: singer/rapper/actress. This album is a masterpiece that successfully tells the soul of an artist. There’s some R&B like Ex-Factor. There are songs of faith, like To Zion and Forgive Me Father. There are amazing collaborations with Mary J and Santana. My favorite: Everything is Everything: it creates a perfect tapestry of everything she is. I have listened to this album many times and will do so many more. Side note: the book Hail to the Queens is an amazing look at women in Rap from the beginning and explains the miseducation we all received about Lauren Hill. Strongly recommend both.

This is a good album. Paul was definitely the song-writing talent of S&G. Key songs for me were Me & Julio, and Run That Body Down, which feels a little biographical. Surprisingly good album.

Emma Lou Harris’s voice is liltingly beautiful. The track Before Believing made me stop and watch the sunrise for a few minutes. The Dolly Parton cover of Coat of Many Colors could have been her original. The Eddy Vedder Ukulele cover Sleepless nights (I know… other way around) was so personal, which I have to credit to her: her honesty drives her music to greatness. I may go vinyl hunting for this one.

Hey you got any weed? This album would be so much cooler if you did! I had never heard of this one and, honestly will probably never look for it again.

Missy Elliot has always been a titan of rap. On this album, though, it showed more of her production genius than her quirky rap mastery. The two songs with Timbaland were ethereally smooth. Beat Friends with Aaliyah was R&B candy. The problem though is the collabs at the time were revolutionary, but now feel dated. Her best was still to come.

I’ve never been a Neil Young fan. I know: people who love him love him. I respect him but he’s not my thing. On the album the radio friendly Old Man and Heart of Gold are good. Country has a nice bluesy feel. The rest of the album was tolerable.

I have listened to this album many times. It is admittedly a playlist of covers but Johnny Cash recorded this after a lifetime of experience that makes his bare-bones, Rick Ruben-directed cuts memorable. Trent Reznor once said that ‘Hurt’ now belong to him; the Beatle’s cover ‘In My Life’ has a very different flare (I still like theirs best) but the Cash version is authentic. Everything on this album was sung from his experience in life. It is a classic!

Funkadelic is legendary in so many ways. When I saw them in concert it was probably one of the best live shows I’d ever seen. This album has some bops on it: You and Your Folks; Can You Get To That; Super Stupid. James Brown may have started funk but Funkadelic perfected it!

I had never heard of Bert before. This album was a good listen. It had the familiar feeling of sitting in a coffee shop listening to someone sprinkle my cup-o-ccino with a little bit of soul. Courting Blues was my standout track. I don’t know how often I would look for this one but I definitely would listen to again.

It’s pretty good though I don’t know how often I’d look for it. The sounds reminds me of Jack Johnson meets Mumford &Sons and Nile Rodgers. Over the Hill is my key track. It kind of feels disjointed

The hard part about Coltrane is I’d always understood his true talent was the improve in his live performance. It’s hard to hear that on a recording. I’ve heard plenty of Coltrane and he was great. The way he could emote from his saxophone was astonishing. You can hear that in his language in Pursuance. Unfortunately for a casual listen this entire album kind of disappears into its own repetition. For an unquestioning fan this album might be legendary. For me it was a’right.

I’m a sucker for Bowie. This was the first big transition between Hippie and Ziggy. I was actually thinking about ‘Changes’ the other day and how applicable it feels right now. Thinking about my coworker prompting th changes, Queen Bitch also feels relevant. I ranted extensively about this album on Instagram so I will just say this: it’s still art; it’s still relevant; it’s still Bowie!

My dad and I have spent a generation fighting about this album, most particularly whether Cecilia is a good song (I say it’s fucking great; he hates it); whether Art’s solo vocals on Bridge or the harmony part is better; and which song is better, The Boxer or Only Boy Living in NYC. Honestly, we’re both right on all of. I am undeniable biased on this album, which is great, but my memory of it is even better.

So, about song 2 my mind wondered. Song 3 (Jonz) I stopped paying attention. If I was attempting to get laid in my 20s, I could see throwing this one so I could feel the swagger and pray she was into it. However, just for a listen in my 40s feels…well, too “Shit. Damn.Motherfucker” for my tastes. I’ll pass.

I remember the first time I heard this album I was confused. Then my good friend Mop gave me the key: listen to it like a cross-country trip listening to the radio. Genius! Though not my favorite Wilco, I love this album, not for any particular song (though Heavy Metal Drummer, PKB, Man Who Love You, and other great songs are here), but for the experience this album uniquely offers. It would rank it as one of the best concept albums of our generation! Apparently all you need is a Mop, a key and a CD!

In a world where “Straight outta…” is slapped on everything it’s easy to forget the cultural influence this album had. The title track followed by “F-the Police” were so hard hitting and revolutionary. Many people associate them with gangster rap but the lyrics show more of the statement about life in the late ‘80s LA. Though some tracks feel dated, others feel as relevant today as 1989. My favorite track is actually Express Yourself, in which Dr. Dre in a profanity-free, Staples Singers-Inspired track talks about everything from drug use to gun culture. His classic, slow flow turns the future superstar producer into a storyteller. This album is a relic, and as fresh as ever. Not something to play at a family BBQ but a classic none-the-less.

I have always wanted to like this album more. The musicality is good. But the entire album just feels too renaissance rock for me. It lacks the mastery of Led Zeppelin. It lacks the psychedelia of Doors. It lacks the straightforward drive of Black Sabbath and the sensibility of Sir Elton. Aqualung, in my opinion remains the only single off this album that makes it worth listening to. I haven’t listened to it in 10 years and I think I’m good for another decade.

Bob Marley is always easy listening. Now understanding the context for his life better than I did when I discovered him in college I realize how great his message was. I have to admit that I am used to hearing his Legend hits aBlum and live versions so the original tracks are different. Key tracks are Revolution and No Woman. He is the legend!

I remember when this one came out. “In Da Club”was a banger in the club, though I don’t remember much more of the lyrics other than the birthday opener. I know rap fans rave about this album but I find myself not invested. Much like Biggie and Tupac it’s that I don’t identify with the culture of guns, drugs, or despite my best effort, hanging with the “hoes”. The track with Eminem is good but not something I would look for. The object misogyny, racial overtones and hedonism just isn’t my thing. I stopped listening about 1/2 and don’t feel like going back. Next…!

I could only find the one song on Spotify but I did enjoy it! It’s not something that I would rush to listen to but on my pre-dawn work days I could totally see throwing this on.

I had pull the disc out for this one. I first bought it on cassette way back, but upgraded to CD shortly after. This album was such an influence on my formative years. “Even Flow” was the first “grunge” song I heard and I have been dedicated to PJ ever since. The day I broke up with my first girlfriend I heard “Black”, and it became a reminder of that first heartbreak ever since. “Once” taught me how to grab people’s attention, and “Jeremy” was pleasantly inescapable, especially when feelings of being an outsider were a daily occurrence (damn 10th grade!). Eventually I lost interest in PJ in early college because the commercial nature of their radio play but it was an acoustic bootleg of “Black” and “Release” that reignited my interested, and I have grown with them. They are not a great grunge band: they are a great band for our entire generation and continue to be part of my ever evolving life soundtrack.

I never knew how many songs I have loved came off this album. There are so many radio hits: Simple Man; Tuesday’s Gone; Freebird; Poison Whiskey. Classic rock radio might as well put press the entire album. Skynyard always seemed too rocks-billy for me overall. I have had a respect but not necessarily an interest. Now listening to an entire album, I want more and am a bit ashamed of my own close mindedness. I am going to remedy that immediately!

Another album hit the table for this one. Middy Waters is a legend for a reason and this album is evidence. The opening call of “Mannish Boy” has been used as a mainstay of pop culture for as long as I can remember. my favorite track, though, is “Bus-driver” because that simple 12-bar pattern explodes into a jam session that doesn’t seem like it should work but does so well. I would have loved being in the studio when that was being recorded. This is one of the best blues albums recorded and a defining moment for both Blues and rock history!

There is something to said in music about timing. This album I imagine was revolutionary in its day. In this day it feels dated. I don’t hate it but I don’t know if I would necessarily look for it. Super Bird, Love and Flying High were my key tracks. You can definitely hear a lot of Brian Jonestown Massacre in here. Maybe headphones and edibles would help….🤔

I rolled my eyes when I saw this. I wanted to hate it…but kinda dug it! It was slower and more blues-based than I thought it would be. Omaha sounds a lot like later CCR. Key tracks were Honky Tonk Heroes and Rode Me Down Easy, though Black Rose deserves honorable mention. I could definitely see listening to this one again. Who knew?!?

There was so many Bowies: the Hippie; Ziggy; Aladdin Sane; The Duke; Garreth the Goblin King. This album was the diary of a man named David Jones dying of cancer. It’s a powerful view of his reality and fears. He yelps in “Tis a Pity…” in such a way that you can hear both the pain of his illness was and the pleasure of doing something he loves. Key track for me is Lazarus. I’m convinced that Bowie didn’t die. Instead the Starman just went home, leaving us this final opus of everything he loved from jazz to saxophone, to storytelling.

Listening to this you can hear the influence it had on the Beasite Boys, so obviously, I dug it, though I did feeling like I was the sidekick in a Blacksploitation movie. Chameleon was the key track for me, and I vaguely remember our high school band teacher attempting to have us play this. Overall, I’d listen to this again

We Are Family was a mainstay in my house growing up, despite the fact that my parents hated disco. I’ve long known Sledge, though I hadn’t listened to the rest of the album. Key tracks were aside from the Title track, are He’s a Great Dancer and Thinking of You, boosted because of the stellar bass work of aficionado Bernard Edwards (Boomers know him from Chic; Xers know him from Rappers Delight, and Meillenials don’t think music existed before them so they don’t know shit).

I don’t remember much from my grad-school days but I remember this album. It is filled with now classic bops. At the time it was compared to the Beatles, which I don’t know if that’s accurate but I do know this album is fun! Key tracks Mardy Bum and Perhaps Vampires. This is a definite listen to again and often!

Peace Sells was a good opening salvo from the former Metallica guitarist Dave Mustaine and his new crew. In truth, Megadeth’s best work was still to come, solidifying them as part of the Big 4 thrash bands. The title track and Good Mourning are key tracks for me, though the cover of Ain’t Superstitious is also fun!

I have zero recollection of this album from 1995. After listening to it I can’t say I will have a lot of recollection in 2025. I enjoyed the listen. It reminded of post-Labyrinth Bowie meets OMD. Key songs were I Spy and Common People. I’m not sure I would look for this again though.

This is considered to be one of the greatest rap albums. There are some really good parts of, then Kanye opens his mouth and trashes it. He was pretty good producer, I will give him that. “All of the Lights” and the collaboration “Monster” are okay. “Runaway” is also pretty good. Overall, this album graced my IPad and probably will not be gracing it again.

I have a love/tolerate relationship with this album: love side one, tolerate side two. If I owned this on vinyl I would never flip it. Beauty and the Beast and John the Lion lead up to my favorite song on the album and for the artist, Heroes. Unfortunately, side 2 sounds a lot like Radiohead was attempting to make a movie soundtrack (#moonshapedpool) and I kind of want to walk at the theater ASide:Classic! B-side: pass!

This my favorite Bowie album, which is funny that he was so coked out that he doesn’t remember making it. Whether it be the Lennon-produced Golden Years or TVC-15 which feels like it gets faster due to the crescendo in complexity, this album is my go-to Bowie album on vinyl.

I hadn’t heard of this one but I like it. It was very Indie rock. If I had a complaint his voice is so lilting it disappeared from song to song. Key tracks: “Stupidity Tires” and “L.A.”. I am going to listen to this one a few more times.

When you make the opening track a 7-part futuristic rock opera that spans the 20-minutes of side-1, you are making a statement. This prog-rock classic a masterpiece, though I have to admin this is best left to headphones and lava lamps in the basement rather than active passive listening at work or the gym. Obviously, the tittle track is a complex and masterfully artistic rock concerto. But (Rush fans please don’t judge) I prefer Something for Nothing as it keeps the same amazing musical range but in 1/6th the time. It’s a great album when you’re in the mood. How often that happens is a personal preference.

‘70s Blacksploitation Soul was never really my thing but I have always loved this album. It was a movie soundtrack. But what I always appreciated (aside from the constant samples from this album littering Paul’s Boutique) is it was a concept album that told a story without a movie. I never saw the movie. I know exactly what is going on. Key tracks: Superfly (of course!) and Pusherman. I’ve listened to this album a few times when I want to feel extra swaggy, and I probably will continue…

I had no sides what I was listening to, but I liked it. The blend Latin, Middle Eastern, EDM, jam rock and reggaeton was weird and cool and a perfect start to summer. Key tracks: Love and Hope and Street Signs. This is definitely a listen again.

This album falls into the British post-punk era. In the modern day this could still be an Indie-classic. Key songs for me are Sixteen Blue and Answering Machine which has a Van Halen meets Clash flare. I listened to this bop a few times.

Velvet Underground is a unique band. I loved the avante garde-ness of the first album, VU&Nico. Though Andy Warhol was only a small influence, the album feels like a reflection of the dark underbelly of the 1960s NY culture. This album feels like Lou Reed was attempting to one-up their debut, but was on more drugs than the first time. The 12 stretch of The Gift and 17-min slog of Sister Ray move from being in-the-pocket jam band to elementary school band class where everyone is banging and clanging. I was left not “waiting for my man” and instead waiting for the end. The title Track and Here She Comes now are top tracks but the rest is meh. Good intention but the White Light has left the bottle and left me lukewarm.

Wow! Where to start? Rolling Stone writer Jordan Runtaugh wrote of it, “the inner turmoil surfaced in brutally honest lyrics, transforming the album into a tantalizing he-said-she-said romantic confessional.” I can’t add anything more to it! If you don’t know the history, get a laced glass of Chardonnay and have a go at this one. It’s worth it!

I tripped across this on vinyl last Friday and had a “should-or-should-not” moment. I did and don’t regret. ZZ Top has always been the Billy Gibbons show. Jimi Hendrix once referred to him as “the best guitarist alive”. Listen to most of the album (any album) and it focuses on Gibbons’ white-boy Texas Blues. Please note: not a negative critique! He has more soul in his right hand than I do in my genetic lineage. Key tracks are (of course) the immediately recognizable La Grange, and Masters of Spark. Those two alone need no other introduction to the Genius that is ZZ Top. Fun note: this album also features Frank Beard (the only guy without one) as Rube Beard. I am bisssed by their ‘80s hits but this is a Texas-Blues-Rock Classic ZZ Top!

This came out when I was 3-1/2, and I spent my entire life not knowing this album. After listening to it, I realize that was okay. I vaguely remember Geisha Boys and Temple Girls. I imagine that this album was a revolution in the New Wave Movement, with its synth-heavy rhythms and deeply British lyrics. I can hear the influence they had on everyone from Depeche Mode to OMD and the Petshop Boys. However, I respect this album for its evolutionary role more than itself as a piece of work.

When I was a kid my parents banned me from listening to Prince because they felt he was too pornographic. Little did I know the Little Red Corvette was not a car. Obviously I didn’t listen to a lot of him off radio play. Now that I am old enough (I didn’t tell my parents …) I was amused by this album. You can hear a lot of Sly Stone and JB’s-era James Brown I there. His musicality is exceptional with a favorite track being Ballad of Dorothy Parker. On disc 2, U Got the Look and It’s Going to be A Beautiful Night were key tracks. Unfortunately, a lot of this album sounds like the 1989 Batman Soundtrack, which as a film did not hold up well. But you have to appreciate Prince made sure you got your money worth. I could listen to this one again!

This album screams 1980s Broadway, which for someone not inundated daily with Broadway may be appealing. I just couldn’t get into it. Her voice…well, actually, all the music feels too over dramatic for my tastes. I felt like I was in a James Bond movie, except a post-retirement Sciatica and Glaucoma eating at Denny’s at 430pm James Bond…

When Metallica played San Quentin Prison in 2003 it was a PR stunt to cover a bad album. When Johnny Cash did it in 1969, it was to make amends with his own demons. Cash was never afraid to explore the darkness. As his career exploded what started as lyrical curiosity turned into confession art and his guitar became his priest. What made him so endearing was his honestly. He didn’t do most of what he claimed but it was believable. My favorite track was/is ‘Boy Named Sue’ live. I love the interplay with the audience and when he changes it up in the end it shows how much fun everyone had. I almost wish I could have been there, but then I remember that the admission to San Quinten is a little steeper and longer lasting than I would prefer. However, God Bless Johnny Cash!

fellow music appreciator @sam_paquette_81 recently reviewed “Kind Of Blue” where his experience reflected my own: getting the album on reputation, not putting a whole lot of focus on it and then, after some research of who these legends where and why they were legends, realizing what is spinning feet away from you. To quote directly, “reflecting on this makes you understand the importance of this record, they had the most stellar line-up. Miles’ songs were some of the most amazing backbone for each of them to bring their flavor to make this record a timeless classic. I could go on...but I’d prefer to drop the needle and be transported...”. I can’t say it better.

I loved the first Doors Album. It was raw and new. I loved Morrison Hotel more because it was the Doors when their art was honed to perfection. There is a song for every mood. Waiting for the Sun is a psychedelic ride while Land Ho! Was a funky exploration of uptempo oddity and Roadhouse Blues was a down and dirty classic rocker. One of my favorites is the soft romance Indian Summer. There is beauty in there, despite the fact it’s comparing his love to multiple women. Hmmm. I love the story about the cover too, that the owner refused so when he wasn’t paying attention then ran inane got the shot before being chased out. Classic twenty year old rock band mayhem!

I hadn’t heard this album, which some claim to be the first fusion album. I actually really enjoyed it. Davis’ smooth transitions in and out (example 9:20 mark) was a perfect show of his mastery. I also appreciated the skill he allowed for the rest of his band, though I have to give praise and condolences to drummer Tony Williams for the 18-minute high hat routine. Favorite track: Shhh/Peaceful.

I will have to come back to this one again. At first I was surprised (and jaded) by the flute and church organ being the feature instruments (Jethro Tull PTSD). However, the further I delved into the alb the more I was curious. Key song for me is “The Castle”, but the wander Revelation was definitely worth a second listen …or more. I may be over ratting this one but…

This 1959 classic is shows the versatility of Ray Charles, this time on a big band setting. What shouldn’t be forgotten is his earlier blues-based work was thought to be too race-music related so this album was meant to be a bridge to more white audiences. When I think of RC, I tend to lean to more of the Father of Rock ‘n’ Roll rather than Count Basie-esque band leader. “You Won’t Let Me Go” and “Am I Blue” are key tracks for me as each show his bluesy roots. Overall this is a great album, though it is a great album for red wine and love makin’. After 17 years of happy marriage, I’m in the she-goes-to-sleep-and-I’m-drinking-a-beer-on-the-coach-with-headphones phase…

The BVSC was an interesting mix-up from the recent picks. First thing that hit me was how well the recording quality was. I am going to relished to this when I have my good headphones available. Overall this isn’t my normal jam, but I enjoyed it. I picked up on the In the Heights Musical soundtrack nod in Candela. This reminded me of my brief stint in Belize many moons ago. Favorite track was the opener Chan Chan.

I was never a huge CSNY fan but after watching a PBS performance years ago I saw the talent behind Stephen Stills and I liked them better. This album exemplifies that talent. You can hear a lot of his song writing influence from CSNY in songs like Witching Hour. My favorite from the track is the bluesy High & Dry and Go Back Home. This is a listen again kinda’ album.

The Clash redefined a lot during the 1970s and 1980s. They blended so many styles together it’s hard to call them punk or reggae or rock. In truth, they did for the London Alt scene what Oingo Boingo was doing in the LA Alt scene. The hard hitting London Calling was a sonic explosion but I have to say that favorite track is Brand New Cadillac. This album is a classic!

This album is bipolar between the atmospheric groove and the protopunk. At one point I though I was listening to the B-Side of the original Top Gun Soundtrack and all of a sudden I was listening to the bootleg of the Sex Pistols recorded from the closet down the hall. Honestly, I didn’t hate it but I can’t say it will be a frequent listen. Actually, I’ll forget about it by the end of the week….

The first time I heard of Nick Drake was on the serendipity movie soundtrack. It was a good song, but it didn’t quite grab me. This album I haven’t listened to up until this point. It was the perfect Sunday morning album. River Man and Three Hours were by far my standouts, though I enjoyed the entire album and plan to listen to this one again.

Let’s be honest: if you hate Buddy Holly you hate America. Most people say that the Beatles was their biggest influence. One of the Beatles biggest influences was Buddy. Don McLean wrote the masterpiece American Pie about his death, and Madonna wrote a master piece of shit of Don’s Masterpiece. I have always had a theory that people know when they will die. Buddy Holly asked Maria to marry him, aka, the day they met, he said that he didn’t have that long to wait. But what he did for American Music by the age 22 was the stuff of legends: he took country, jazz, and folk, and mixed it into a genre that became the simple patterns of modern pop rock. Elton John, Destiny’s Child, Taylor Swift started with him. My favorite tracks on this album were Oh Boy and That’ll Be the Day, though the entire album is great. My daughter’s found it outdated until I showed them the simplicity of his musical life biography which is a staple of modern pop, and then they texted someone. Damn Gen Z and Alphas. Buddy is an American icon, like Dolly without the boobs and altruism (or lifespan but we don’t talk about that….). Long live Buddy Holly!

Growing up in the midst of 1980’s New Wave has left an indelible print on my musical psyche. This album was obviously on the forefront of British New Wave. For me, though, it feels like Nile Roger’s le Chec and Orchestral Maneuvers In The Dark had a supergroup. Favorite Shirts and Baked Beans were stand out songs. Unfortunately I was curious to start, got lost in the sound about four tracks in, and was kinda’ wondering when it was going to end about 12 songs in. Then I found out I was listening to the extended double disc and cried…

It’s always fascinating listening to a “family band” that still likes each other after a long career (eg, Oasis, kings of Leon, CCR,etc). They sounds is good, very Irish folk meets Norah Jones vocal jazz, I mean, 15 years prior to NJ of course. Blue Moon Revisited and Sweet Jane are definitely stand outs, but I remember hearing those when I was a kid. Margo Timmons voice is beautiful and almost ghostly. The hard part is if they came up on the radio I would listen , but it would take a specific mod to look for them.

This album was far from a “Bummer”. I’m surprised I’ve never heard of them before. It’s like The Cure, The Clash & Depeche Mode had a menage a’tres resulting in a love child called Happy Monday! Key songs for me are Wrote for Luck and Mad Cyril. This is a listen again!

I’m a sucker for a Hammond Organ! Wait, that sounds bad! The musical instrument, I mean. I liked his version of the blues, which landed somewhere between New Orleans Jazz and a southern Baptist church. Title track and Minor Chant were key tracks.

I remember the first time I heard this I was so confused. It hardly qualified as music, at any I knew at the time. It was haunting, emotional, thematically overhead my head. It was nothing like I had head before. Was that a baritone sax on a song about mental psychosis? I immediately listened to it at least five more times, and countless more over the years. It still is haunting, emotional, and confusing, and one of two go-to Radiohead albums. National Anthem and How to Disappear both ended up on my annual soundtrack that year, and the latter has been used in numerous playlists. I know the 9/11 theory is bunk, but I do have to say that it makes perfect sense. A classic of our times!

The longer I listened to this album the more I liked it. I was stuck on one major issue the entire time: punk has always been earmarked as high energy, burn-hot and be done fast song writing. Prog bands can do a 10 min song because they understand the role of storytelling and dynamics. This began feeling redundant, then monotonous after a while, like they wanted a cross between Sex Pistols and late ‘80s Metallica. Luau and Do You Compute were key tracks.

I grew up with this album so there is probably a heavy bias here. Jefferson Airplane was one of those unique bands that took rock to new levels, most of them drug fueled. It did however give a new way to look at music that has inspired generations, for example listen at “Today” and then "Infinite Tamboura“ by Rusted Root in the 1990s, or anything by Tame Impala. “Embryonic Journey” was a favorite of my dad’s which was played on his coconut headphones as nauseum.

I really liked this. His musicality and flow were good. I think the challenge of retro-soul, especially reflecting the Blaxploitation era, is people like Curtis Mayfield, Isaac Hayes, and James Brown did it so well it became iconic. If someone is going to pay homage, it needs to offer something they didn’t. This album was a great reflection but I am not sure it offered anything not already done. You Ain’t the Peoblem and Piano Joint were my key tracks. I will definitely give this another listen, thiugh

I have tripped across this album many-a-time in the stores, and never listened to it. I was surprised by how much I appreciated it. I was expecting mid-70s Yatch-rock (no logical reason why) and got more psychedelic and prog-rock. Key tracks Rudy and Asylum. I am going to come back to this one.

You could not live through the 1990s without knowing and appreciating this album. This, in my humble opinion, was one of the last great hip-hop albums of the Golden Era, succeeded maybe by and only by the Miseducation of Lauryn Hill. It was refined but street; it was rap but melodic; it was a near perfect album. Key songs for me: The Score and Killing Him Softly. Will listen to many more times.

I am going to say something potentially Un-American: I’ve never really been a Boss fan! I have the deepest respect for him but never listened to an album until now. I have always heard he was a great story teller and this album was an example of that. Badlands and Factory are perfect evidence of why he is considered “Working Class” Bruce. His vocals present like he took over Elvis boweled out. This band is tight and legendary. I could definitely see him live. This was a good album! I might be a Boss fan yet…😀

There are few bands as overplayed as RHCP. I would probably like them better is the major radio stations didn’t have them on hourly rotation, I didn’t hear them in grocery stores and I wasn’t inundated by their SoCal sound non-stop. But let’s be honest, they put lightning in a bottle with Sex Drugs Sugar Magic in 1991, and retained that formula all the way up to Stadium Arcadium, and then went back to it later. Rarely do I hear a RHCP song that doesn’t song like every other RHCP songs. To their credit, they produce it, someone else plays it, and they are making $ hand-over-fist. On this album I enjoyed hearing the non-radio songs like Get On Top, Right on Time and Savior. However, if I want to listen to them, I’ll just turn on the radio or go buy a cucumber and wait five minutes….

This album cannot be critiqued without context. Simple: this was the world’s first major tap production. Comparatively, it’s not great but for what it was it was revolutionary. Sucker MC’s still holds up, and Jam Master Jay, DMC and Rev Run later even perfected many of these songs. Still a classic

I can’t remember the first Hendrix song I heard. While most kids had Big Bird and Barney, I had Jimi, Jim and Grace. It might have been Purple Haze. Maybe Watchtower. The first song I really remember sitting back and going, “wow!” was Red House. It was blues but with a rock edge, and guitar playing that emoted pain. This album has a lot of that, from the fun Foxy Lady. To One of my favorites on this album Fire, to the riff-heavy Manic Depression. It always annoyed me that the English and American releases had different tracks but that was common to get people to buy both. Honestly, I would have and still might. This album was incendiary.

Santana is undisputed as a Guitar God, and this album, along with 1999’s Supernature prove that, though I have to give a shout out to his instrumental Santana Bros. This earlier work show cases some of his best work, pulling from his childhood playing on the streets of Tijuana. Black Magic Woman is an example an artist taking someone else’s song, on this case Fleetwood Mac, and owning it. Oye Como Va is Mexican folk rock at its best. The irony is this guitar hero would be extradited back to Mexico today. Kinda’ gets you thinking 🤔

This album was…well…forgettable. I listened to it twice back to back and struggled to grasp anything from either listening. It wasn’t a bad album, per se, just background. Some of the harmonizing was chill, and Cowboy Movie had some good guitar work. If only I could remember this album.

If Smashmouth and Mother’s of Invention had a love child, it would this album! It was a reflection of the post-grunge-indie revolution made famous by Napster. Personally, not my thing but not unlistenable, just weird and jam-band on ‘shrooms. Key songs Skeleton and Spanish Man

I had never heard this album until this set of listens. I applaud their efforts as a 1990’s post-grunge band, but for me it felt like a relic of the ‘90s offering little that I hadn’t heard before from other bands (eg, Pablo Honey-era Radiohead; the Verve; Gin Blossoms; etc). Key tracks Everything Must Go and Girl Who Wanted to be God.

I enjoyed this album as a whole. I have to confess, though, the first four songs felt like they were taking over from where the Beatles left off after Rubber Soul. It felt like Last of the Steam Power Trains ushered in a more unique sound. Once Starstruck hit, it felt like there was a return to the very Beatles-esque sound. In between Animal Farm, Sitting and Village Green offered the oddity I liked most. This is definitely a listen again

First off, I am always fascinated that Mama Cass and Keith Moon died in the same hotel room 4years apart. I am also amazing that the entire run of Mamas&Papas was four years. I appreciated M&Ps because they were a straight-edge vocal group but also hippie; classic folk but progressive lyrics; rock but not rock at the same time. This album was a great example. Key songs for me: Monday, Monday; Go Where You Wanna Go; Beatles cover I Call Your Name; and California Dreaming is one of the best songs from the entire era. Have listened to and will listen to again! (I may be underrating this one).

My techno phase was between 1998 and roughly 2003. Fatboy Slum was definitely on a short list of favorite DJs. Techno/EDM is hard to judge. It’s about telling an audio story in 120BPM 4/4 time. I always appreciated that his was fun, buoyant and integrated a lot of influences from funk to rock to classical. That said I rarely focused on individual songs, but rather feel. Today I listen to techno for its repetitiveness when I need to drown out other stimuli. It’s better than Ritalin (well, almost). I can’t say this is a bad or good album. I might listen to it again but I probably wouldn’t necessarily look for it. For me, it’s a musical capsule of a foregone time between college and reality.

Public Enemy is the greatest rap group of all time. My first introduction was actually when my brother encouraged me to watch 1991 Anthrax-collab video for Bring the Noise, which both came off this album and name drops fellow Brooklyn boys Anthrax. I was blown away. Then I heard Fight the Power, Hazy Shade of Criminal and more and was hooked. What separated them was they took rap from a backstreet genre to the mainstream by giving it a national voice. This album was the catalyst for the entire genre after. Unfortunately when gangster rap started within a few years, it’s hedonism and rawness overpowered Public Enemy’s trajectory as an industry leader. This album still is relevant. It still hits. It should be listened to again right now at high volume. Key songs: all of them, except for Flava’ flab’s such still kind of come off as silly, but he was the best hype man aside to Bobby Byrd to James Brown.

My first introduction to Nico was with Velvet Underground and Nico, which is a legendary avante garde album. Her solo work is, well, um, like listening to my wife talk about our summer home improvement projects. I stopped listening after the fourth. Key song: These Days, because it was used on one of my favorite mixtapes/cd given to me years ago (Thanks again, BTW).

This was a fun romp through junior high, except this time I got to listen to all the songs I couldn’t listen when I was younger. I don’t know how much I would listen to this album again but I did get a new perspective and respect for it. Ghetto Thing was an intriguing callout to hood life predating the power of Gangsta rap or Public Energy. Favorite track: Jenifa Taught Me was just a classic misogynistic teen-boy-mentality that made the 13 year old in me snicker.

It’s hard not to love this album if you have ever listened to classic rock radio. This album represented the first back after the death of Bon Scott and the replacement with Brian Johnson, whom has always fascinated me with his baritone speaking voice and alto-broken-glass singing voice (how does he do that?). Six of the fifteen tracks were hits. There are a few other tracks on other albums but this is pretty much a “best of” as is. It’s hard to pick a favorite but Rock’n’Roll Ain’t Noose Pollution and You Shook Me are tops, though I really enjoyed hearing the non-radio tracks like “Given the Dog a Bone”.

Guided by Voices can be described as this: Pavement for people with extreme ADHD. At first I was impressed, and then the song ended after lengthy 1:30 seconds. Spool up the next, and end it 0:59 secs later. This album comes off more like a group of kids who had a great riff but didn’t know how to write a bridge so they just ended the song. I appreciated the 1950s quality of Prick, and several songs got the head bobbing briefly. Favorite track was the epic of the album (2:30) Watch Me Jumpstart. Probably won’t be returning to this street…or should I say driveway?!

The his album was a solid grunge album before grunge was cool. The irony is I don’t remember hearing this album, which predated Nevermind and Ten, until the late ‘90s. The Simon & Garfunkel cover of Mrs. Robinson is still a classic and my favorite track, but I have to give a shout out to Ceiling Fan is My Spoon and It’s A Shame as standout tracks.

Just another teen mom without a college education here… Okay, she also happened to be the Queen of Soul and the woman who shattered virtually every barrier in music. This album is a testament to genius, and I don’t use that world lightly. I heard Respect for the first time in the Blues Brothers and it quickly became a favor track (only later did I discover it was an Otis Redding cover). Dr. Feelgood is a fantastic look at her blues roots, while I Never Loved A Man was a soulful serenade made for weddings and anniversaries for generations. I thought it was interesting that Save Me was her lyrics and the background music for Them/Van Morrison’s Gloria, which predates this album by 3 years. But the Swampers were a powerful for a powerhouse. This album is a classic

The problem with Irish music it sometimes it all blends. A few months ago we reviewed “Rum Sodomy & The Lash“ by the Pogues, and I gave it a 3/5 then. I am going to make my life easy and give myself an easy day and give it the same. I enjoyed the Fairytale of New York with the Kirsten MacColl and the Sir Down by the Fire because they sounded unique for them. Actually. This album deserves a 3/5 anyway!

My uncle introduced me to Dire Strats when I was a teen. Let’s be real: Dire Straits is actually the Mark Knopfler show. I always found his guitar playing in somewhere in the area of Gilmore’s tone, Clapton’s talent, and Howling Wolf’s slide. In other words: he’s pretty good. I always found his voice range to be…well, kinda’ flat, like Johnny Cash with a headcold. It was unique. The most famous song on this album, Sultans, is a great example of the bands collective versatility and storytelling, though I have always been a little confused because the song sounds more Brazilian bassa nova than American swing. Favorite track: the country tinged Set Me Up as it presents as a buffet of all of their sounds in one short song! Cheers!

This album became a discussion piece over the dinner table regarding LBGTQIA+ rights and the Biblical History of Lilith. Modern kids don’t have any context for the monumental barriers LD Lang and Melissa Etheridge broke to make modern artists expand their market share by waving a Pride flag. They were the first two openly gay artists I knew, and both of them moved the narrative from their sex lives to their music. In truth, KD Lang had my respect even when I was homophobic (I was dumb) because she had the confidence to be unabashedly herself. Her voice is beautiful, but I always found her music to be a little too Chardonnay on the coach for my personal tastes. Save Me is a slow marinade while Still Thrives This Love is my standout. This is a 5/5 for someone and should be, but I don’t know how often I would look for this.

1977 was the Golden Age for Punk, producing titans like Iggy Pop, Generation X, and Sex Pistols, all of which are remembered today. I had never heard of Pere Ubu, and listening to it makes me understand why. For me, their avante garde style of punk is the equivalent of a shot of single malt whiskey mixed with Drano and used in a razor-studded suppository. I might have played this to annoy my parents for a few minutes when I was a kid. Sadly, I hear potential in there for a solid punk experience. All I am experience now is indigestion…

wow. lou reed. legend. I know this. I’ve heard it my entire life. I don’t get it. I don’t know if I have ever gotten it. I first heard Walk On the Wildside when Marky Mark did it and then wanted to hear the original. It was good…and then I heard the rest of the album and either felt too dumb or too smart to get it. I appreciated his work with Velvet Underground but avante garde rock apparently is not my thing. This album makes Lou Reed a One-Hit Wonder in my book, right there next to Gerardo (Rico Suave) and Vanilla Ice.

The first time I heard the Yeah Yeah Yeahs was on an annual mixtape given by a good friend in 2005 (again…thanks!) They were good then, but unfortunately life, grad school, marriage and kids happened. I am sorry I didn’t follow them closer because this was a great album! It is a bit of a time capsule to the Indie-era 2000’s but has a unique blend of indie-style writing and EDM influence that is also found in MGMT, Naked & Famous and early Wolf Alice. Key tracks are Zero and Dull Life, though on my current third listen I will probably find another. This is going to get listened to repeatedly in the near future!

In my early sinful 20s Air became a soundtrack for late nights and experimentation. It was fitting that Talisman was featured on 1999s GO! Soundtrack, a movie about one night, drugs, raves, Katie Holmes, cops, and mayhem. It still remains my favorite track off this album. This is a great debut album for the Frenchmen. The problem I have had with Air is the moody ambience requires a specific mindset to appreciate, otherwise it’s prone to become background music.

You get your GenX card revoked if you don’t know who REM is. I was just surprised that they actually had albums other than Automatic for the People! …AND they’re good! Obviously End of the World and One I Love are top tracks, but I really enjoyed the non-radio-play tracks such as Lightning Hopkins and Disturbance at the Heron House. I am going to continue to dig into this lost gem!

Growing up I had relegated Rush to prof-rock fodder for D&D kids without ever really giving them a chance. But what I realized later in life is some music takes time to mature. For me, I would not have appreciated Rush when I was younger, and this album is perfect evidence of that. It has long been thought to be their best album, and as their official “best of” pulls heavily from this album it’s pretty accurate. Tom Sawyer is a masterful piece of art that showcases each of their skill. YYZ is a musical madness that has left musicians salivating for more; Limelight is one of my favorite songs they did. But I also loved Camera Eye and Red Barchetta, two songs that don’t get credit I imagine solely because of their radio-unfriendly length. This album is both a journey, a masterpiece, and a gift to the world.

The musicality and syncopation of this album was impressive but the opening track WRU kind of made me feel like I needed some Ritalin. For jazz aficionados I could see where this album would leave them dancing in the aisles. I did enjoy it, particularly The Disguise. I just don’t know how often I would seek this one out.

This album is respectfully weird, not like Vice Presidential nominee weird, but kind of keeping you wondering what you are going hear next in a good way. I had heard this album way back in the day and enjoyed, though not as much as I did now. To call it theatrical would be an understatement, which is why I imagine it was primed to become the Broadway musical it is. The title track’s upbeat tempo is enlightened, while JWG is what you would expect from a song about a notorious serial killer, which is both fatherly and creepy as hell simultaneously. This is a listen again, at least once to figure out what he’s talking about and once to truly appreciate it!

In 2002 there was no escaping OutCast, nor did you want to. They took rap/hip-hop to a new level by incorporating New Orleans Jazz, techno, rap, and every other genre until it all spilled out the Speakerboxxx! A personal favorite is Bow Tie for the jazz roots. There are some great collabs here too: Tomb of the Boom with Ludacris, Big Gripp and Konkrete; Reset with Cee-Lo; She Lives in My Lap, which is kinda’ weird thinking about Ahsoka’s Miss Dawson that way (…so I am told from a friend, I would never…); and Take Off You Cool with chanteuse Norah Jones. …and that one with Jay-Z. Overall this album delivers and through its multifaceted approach feels just as relevant today as it did two decades ago.

I have never heard of this album before, but I really enjoyed it. This was great early Psychedelic rock. Favorite song was definitely a Roller Coaster. It’s interesting listening to this because you can hear so many influences of modern bands: everyone from Radiohead to B.R.M.C. to Brian Jonestown Massacre. this is a listen again !

Who knew Dexy had songs and albums other than Come On Eileen?!?! This album had a distinctly 80’s feel that reminded me of Talking Heads. I liked that it had the feel but it was also distinctly original. Key tracks for me were the OccasionalFlicker and This Os What She Likes, though the 1960’s-esque Listen to This and it’s Motown bridges was a bop. I have to come back to this one this weekend!

I think any GenX’er who lived through the late ‘90s was familiar with the Kohn Cusack quote from High Fidelity: “I’m about to sell five copies of the Beta Band.” “Do it!” Sadly, I am as guilty as others who never made it beyond Dry the Rain. This album was really good. I’m surprised that The Beta Band didn’t get more play in America. However, this album, with its psychedelic nature, I think may have been too ethereal for American taste. Several songs on here stand out, with AI Sharp and Broke being my Top2. I’m gonna to this album many times!

Radiohead has always done a good job walking the line between musical virtuosity and mental insanity. The music is masterful articulate and dynamic and so many ways that express moods that immediately connect with the human emotion. Hail to the Thief is exactly one of those albums. It takes one to an emotional roller coaster from happy to sad remorse to potentially even psychotic. Songs like the Gloaming combine so many genres/sounds it hardly even sounds like rock anymore, and then is succeeded immediately by songs like There There and I Will, which being you back to calm and jubilant. It’s hard to pick a favorite but I have to say I lean toward the guitar driven Go to Sleep, simply because it’s a throwback to the Radiohead I first heard. This album is an audiophile’s dream.

Dusty Springfield was definitely a singer for a certain age. Her song Son of a Preacher Man is a classic that should be preserved for all times. This album is intriguing because some of it has that classic Memphis sound well others of it feels like it’ll be best left for Broadway and vocal jazz. Aside from the obvious favorite, Don’t Forget About Me has a great horn section and Just One Smile has almost Gospel feel. Overall those, the A-Side of this album is repeat play. The B-Side, for me, has aged out and should be left there…

I love smart rap that says something. This album is no-hold-barred social commentary in the tone of Public Enemy and Common. I don’t know how I missed this in the 1990’s with the exception of the name is long and lacks catch. Television the Drug of a Nation is dissertation on America with prophetic overtones that made me look at the album date due to modern relevance. Note: the entire album is so hard hitting it was hard to pick a favorite. This album kicks ass and needs a renaissance.

I had known the album of TV on the Radio for sometime. I can’t say I’d ever taken a whole lot of time to actually listen to them until today. Overall, they’re pretty good. It kind of sounds like a mishmash a different ideas cast cross 3 to 4 different generations. Some of the songs sound like 1970s David Bowie mixed with LCD Soundsystem and a little bit of Maroon 5 mixed in just for fun. Key songs for me were Golden Age and Shout Me Out. I like the groove of those, like good songs to listen to again and again this album is really reasonable. I wonder what else they got?

Just listening to the Jungle Brothers brought me back to junior high right at the beginning of the Golden Age of Rap. This was a fun album to listen to despite the fact I don’t think I’d ever heard of them before. Their sound reminded me a lot of Digable Planets, Bell Biv DeVoe, and even us threes “Cantaloupe”. Songs for me where you make me sweat And Sunshine, they were just fun songs to listen to and made me feel like I was a kid again listening to Rap for the first time .

Fleetwood Mac is a legendary band. Their songwriting was renowned, their musicality was first rate, and the Rumours of the internal drama was the 1970s equivalent of Love Island. According to Wikipedia, this was one of the most expensive albums ever, and became a commercial failure. I kind of get it. The first few songs are …mmmmeeeeh… until you Storms. I respect the experimentation. For me, a lot of this album feels overproduced and disjointed. There are some gems in there, though admittedly I find myself leaning into the Stevie Nicks tracks. Storms and Sisters are my standouts. As a whole I’m torn about this album….

They should’ve just called this …And Justice for All, But Jason. This was actually one of the first two CDs I ever purchased with my own money (Ozzy was the same day). Metallica’s One was the first video I really remember sitting down and being in anwe after watching. It made me a Metallica fan at the time, though, admittedly, my love of Metallica has weaned over the years as they’ve gone more commercial. There are a lot of songs on here that still hold up even today. Blackened, One and Harvester Of Sorrow are still favorite tracks. To Live Is to Let Die was the last instrumental track they put on an album. If some one is looking to learn about Metallica, this albums is a great starting point yo begin working your way through. I just wish Hatfield and Ul-Dick would’ve actually allowed Jason Newsted’s bass to be heard on the final mix (they hazed him by turning his tracks virtually off).

Confession: I was anticipating just listen to a few songs and writing the review. Instead I listened to the album twice. There is just something fun about this album that made me think mojitos, fedoras and bowling shirts dancing badly on a beach. I am no bassanova officionado, but I enjoyed this album today. I think that is the sign of a good album: the elicitation of emotion, which this achieved successfully. Key songs were the famous El Cayuco and Llego Mijas! This one might find its way to vinyl for me should the opportunity arise

I think it would be agreeable to say that Johnny Cash‘s prison albums were revolutionary and new and excellent example of his skill is both musician and showman. It’s hard to differentiate between live at Folsom and live at San Quentin. Both of them are great albums, have the same tracks and showcase the type of master he was known for, the interaction he had with the audience of prisoners and a Boy Named Sue is still a classic, but I can’t say this is any better nor worse than other live prison as I’m the same rank .

I didn’t expect to like this album either. I don’t know if I will go looking for it much but it was a great listen. I am planning to adapt my own grooming habits so that I too can “keep my finger nails long so they clicking when I play the piano”, though my wife may have a problem with that. Key songs were Cornbread Moon and Jericho. I appreciate how you could hear the influence he gave to future artists like Brooks and Dunn and Garth Brooks.

Downward Spiral was a punch to the ears when it came out. Several (no reason to mention how many…) years later and it still holds up. Listening as a teen it was volatile, aggressive and a perfect combination of metal, techno and songwriting. As an adult I now question how in Closer he states, “you bring me closer to God” but a few songs later in Heresy he states “God is dead / And no one cares / If there is a hell / I'll see you there” which implies that sex with the unknown participant is “dead” and therefore rather insulting to whomever. Don’t plan on a second date for that one Mr. Rezner! In my opinion, Pretty Hate Machine was a superior album but this one, like or hate it, left a mark on history.

My dislike of the constant radio play of Red Hot Chili Peppers is renowned but I hope to be objective on this particular album which is the time period was revolutionary. Listening to Give It Away was like listening to proof of alien life. Everyone wonder what it means to Suck My Kiss, and I used to have Under the Bridge on every mixtape, especially the make out tapes though now that doesn’t seem appropriate. I don’t know if there is a bad song on here. This album was a strong representation of the stylistic blending RHCPs are known for and heavily influenced the ‘90s. In every music fans collection should be this album.

It starts off with one of the most renowned songs in all of classic rock: Immigrant Song. Led Zeppelin doesn’t stop there moving on next song Friends which shows off the Middle Eastern influence and follows with Celebration Day, which was aptly named after their 2007 reunion concert. Since I’ve Been Loving You is is a Britain-meets-Clarksdale blues ode which may or may not have been ripped off. Side 2 with the medieval Gallows Pole and the ethereal song That’s the Way that looks at the last of innocence to racial bias. My personal favorite song on the album (hard to pick) is Tangerine which has the best 20-note solo of all time. In the annals of the Best Classic Rock albums of all time Led Zeppelin III is definitely sitting there right before Led Zeppelin IV .

It’s King Louis from Jungle Book! While listening to this, I suddenly felt like I was dancing with Lea Thompson at the school dance in Back to the Future. The song Night Train is a classic in the swing and vocal jazz world. Overall, I really enjoyed this entire album and I’m sorry, knowing I hadn’t known that Louis Prima had a career outside of Disney. I’m actually this one for my wife. She will absolutely adore this. This is definitely a listen again.

Bluegrass has never been a thing for me. It’s not that I dislike or like, it’s just I have very little experience or context for what is good or bad. I enjoyed listening to this album but it was very mellow. It elicited sitting on a porch drinking sweet tea with a little somethin’ something’ in it and watching the dragonflies go by. I liked the harmony soul of Dear Someone and hearing her Elvis drawl on Elvis Presley Blues. It was a pleasant listen overall but I don’t know how to rank it.

Who would have thought that 20 years after this album Gen-Xers would drive the streets of America banging their heads to Bohemian Rhapsody at high volume? It arouses the question: was Queen always great or did Wayne’s World give it the context to make it great? I go both! Any other band making this album would have been panned as laughable. But Queen from it’s earliest days were talented enough to own their weird. There would be no AJR, Cake, Presidents, et al, without Queen! They are the only rock band to to be universally accepted even when they don’t do rock. Rhapsody and Best Friend are enduring songs but I have to say that my surprise track was ‘39, which I don’t recall ever hearing before. Overall, you can take me to this Opera any time! “Party on Wayne!”

“Right Now You Funk Soul Brother! Check it out now you funk soul brother!” There was a point in the late 1990s when EDM ruled the world, and Fat Boy Slim was there wearing his crown. I’m not sure who came first, FBS or Oakenfold but between the two of them they created another decade away from the grunge, Nu-Metal, singer-songwriter pop of the early 90s. Praise You and Rockefeller Skank were all over the media, and I heard Gangster Trippin on the “Go!” Movie Soundtrack. This album was more radio-friendly that his previous work but still a lot of fun!

So if good intentions pave the road to hell this was I-25. Maybe it wasn’t that bad but it was hard not to get lost in the fodder of unorganized teenage rage and musical redundancy. Washer was a key track. However, it took me three attempts before I got through the album once. Probably won’t come back to this one.

When we were in high school, the popular girls were into Ricky Martin and Gerardo; the angsty girls into Alanís and Meredith; the artsy girls into Fiona and Sarah; and the depressed man haters with the blue hair into Morrissey. Maybe now that I am surrounded by moody teenagers who don’t understand why the world isn’t working the way they want - aka, my coworkers - this was making a lot more sense and was bee-bopping along! Key songs: Why Don’t You Find Out, Billy Budd and Spring Heeling! I don’t know if this an ever day jam, but I could definitely throw this on again!

Peter Gabriel was released from Genesis because of this erratic behaviors and avante guard musical leanings. This first four solo albums were an example of what happens when you let his artistry go unchecked. It wasn’t a bad album but I’m not sure how much I liked it. Games Without Frontiers is a 1980s staple. Songs like Biko can definitely hear the Lilywhite production so familiar from U2 around the same time. Not One of Us was a pretty good song that seemed very Bowie. If do find it ironic that Phil Collin’s was accused of being “too commercial” as the singer of Genesis after Gabriel but when you hold the B-Sides of this album and PG’s So… side by side with Genesis Invisible Touch, they would trade songs across albums without effecting the album integrity of either. Rock rivalries are dumb (….but admittedly fun).

Growing up names like Madonna, Cyndi, Toni Basil, Toni Braxton and Whitney ruled the radio. I vaguely remember hearing Kate Bush but she didn’t stand out in the field of R&B queens and pop princesses. After listening to this album I think her music was to cerebral for pop, blending her rich vocals with synth-heavy melancholy. I was surprised when “Deal with God” made such a comeback a few years ago, rumor has it due to the Netflix show Stranger Things. Honestly, Big Sky was a better song. I don’t know if I would listen to this again. After a little while the songs began to blend together for me. Maybe it’s because I had already given my heart to Cyndi and Whitney years ago: one heart but an ear for each.

Honestly, this may be my new favorite Velvet Underground album. The paired down lyrics and psychedelia make this highly listenable repeatedly. Maybe it’s just I’m getting older but this album vibes vibes. I liked the contrasts between uptempo beats like Beginning to See the Light and softer melodies of songs like Candy Says. Some Kinda love also throuws in a little bit of that Heroine vibe that made VU famous to begin with. I’m going to find this one on vinyl!

This is not my favorite LP album, but not long ago I was developing a ‘best of’ playlist for the gym and 10 of the 12 songs on this album ended up on it. As I’ve gotten older I realize the impact LP had on my 20s and 30s. I used to love and hate how every album was so different, and when the field was flooded with knock-off Nu-Metal and rap-metal bands it was refreshing to see that they endured. When Chester Bennington died it felt like a piece of us all did as he encapsulated the anger and yearning of so many GenX men trying to find their place in a new world. This album was a great example of that, and the collective effort of the entire band emoted a sense of empathy in each song. In the End, Points of Authority and With You are the Top 3. It fascinates me today, too, how even GenZ is gravitating toward LP. I am curious and grateful that they have decided to continue on, in whatever their new direction is.

House techno was a great mood builder to martini bars in the mid-00s but I walked away from this album and forgot it was on. That wasn’t a good sign. It’s listenable but not memorable for me.

What was it about the late ‘60s vocal jazz sounding like a Bond Movie? Scott Walker had a good voice made for Broadway (respect) but this album started intriguing and got old, buried under a 6’ layer of sodden melodrama. Key track was the Old Man’s Back Again (Dedicated to the Neo-Stalinist regime). I don’t regret listening to this one but will be relegating this to the history books and not the personal collection.

I could never claim to be a huge Dylan fan. Most of my knowledge has come from classic rock radio or movies. Unfortunately my first experience with harmonica players was masters like Howlin Wolf or John Popper. Dylan’s harp sounds elementary in comparison. Paired with his nasal drone, nothing historically drew me in. There were a few big surprises on this album. First, I didn’t realize that his album so prominently displayed in the Tom Cruise move Vanilla Sky was totally acoustic and just him. Second, his cover of SecretMachine’s Girl from the North Country is pretty good, considering it was made 30 years before them. And third, so many of his songs are so relevant today. Blowin’ in the Wind, Masters of War, A Hard Rain’s A-Gonna Fall, Talkin’ WWIII Blues could be played today in a Boulder coffee shop and be considered new. I still dislike his harmonic, but I respect the man and this album.

The first time I heard “Into the Mystic” was at the movie theatre watching “Dream a Little Dream”. Only the first half of the song was used but man I wanted the rest of it. There is just something magical about the flow and elegance of it. This entire album can be described as whimsical. “Everyone” has a feeling like you are dancing through a Renaissance Festival. “Stoned Me” is a classic-rock radio standard and “Crazy Love” reflects the love that we all wish we had time and again. Then he brings it all home with “Glad Tidings”, an uptempo song that leaves you feeling rejuvenated at the end of a midday nap in the sun with the one you love. I found this album recently on vinyl and have been loving it. Fortuitous timing I guess.

This album is thoroughly alright. It had a definite late-90s coffee shop-turned- theatre feel with Beatles, Radiohead, Fleetwood Mac influence. Key songs were Goddess on a Hiway and Delta Sun Bottleneck Stomp. It was a fun vibe for a Wednesday morning.

I don’t know if Psychedelic Congo is a thing but this was there. Somewhere around Simba I found myself hallucinating and believing I was in Central American tripping on ayahuasca. I was relieve to discover I was still alive when the guitars kicked back in for Rhaspodia del Maravilloso. I probably won’t return here (already talked to God today, good convo, ready to move on) but I was an interesting listen!

When it comes to African-World Beat, I don’t have a context to judge the quality. I will only say I liked this and he has an amazing voice that speaks from his soul. I felt a whole lot better thinking this sounded like Wakanda when I found out he helped develop the score for Black Panther. This was good and my ranking is only because it feels right. I apologize if the ranking is lower than it should be. Sometimes a Merlot can taste like Welches when you’re used to drinking Welches.

If you grew up in the 1980’s ZZ were on Top of the World and you couldn’t hide from them. Most of their “Best of…” came off this album. One of the favorite songs (…I admit it’s misogynistic but compared to their earlier work this is church ready…) “Legs” combined Frank Beards’ steady drive behind the set with Billy Gibson’s Texas-blue-eyed blues riffing and vocal scratch and Dusty Hills rhythmic bass with synthesized backings. It’s one of those songs that makes you want to run a marathon (I think I did use this for the Bolder Boulder playlist).But the hits don’t stop there! Other songs include Got Me Under Pressure, Gimme All Your Lovin’ , Sharp Dressed Man, and six more just for fun. Honestly, fair weather ZZTop fans can get a way with two albums: Eliminator and Tres Hombres, which are exactly ten years apart. So strap on your beard and let’s roll boys! This is a classic!

I didn’t discover the Pixies until about ten years ago when I was look at Kim Deal’s bass playing. There are definite some bangers on this album, including “There Goes Your Man” and “Debaser”. But the key track for me was, and is still my favorite song of theirs, “Wave of Mutilation”. I appreciated Black Frances’ sweet then stadium-level vocals with the grungy rock behind it. Our old band teacher Mr. Steven’s always used to yell, “Dynamics!!” to get us to emote musically. He should have just played this song for us. I’ve listened to several of their albums and this was definitely them at their best!

Live albums for me are either revolutionarily good or passable. This album is definitely listenable and I think a good attempt at capturing the spirit of the Deep Purple’s live shows. I appreciated the classics like “Smoke on the Water”, but my favorite track was “Strange Kind of Woman”. The vocal/guitar play in the vamp was fun and different. I agree that they are an underrated band but will note that most of their greatest hits came off their first album. To be great you have to be consistently good. Were they?

Hmmm. I had never heard a Sitar version of Light My Fire or Jumpin’ Jack Flash. I appreciate the effort and skill with such a unique instrument. I honestly liked the other songs better, such as Metamorphosis or Raghupati, which felt like I was being immersed into a cultural experience. I don’t if I’ll come back to this but it was definitely an experience.

I am conflicted on this album. I enjoyed it but when I was done I kind of forgot that I listened to it. The second listen gave me a better view but I think it was so soothing and mellow I was having a hard time embracing it without falling into a meditative state. Like Dylan in the Movies was the key song followed by Get Me Away from Here, I’m Dying. It was overall a well made album with good performances. I would could listen to this again, if I remember it.

Growing up with CCR perpetually in the background may lead to an obvious bias. Matter of fact, their cover of “Grapevine” from Marvin Gaye from the California Raisins (don’t do the math; it makes sense only in my head and timeline) off this album was an automatic victory for them in my heart. But other songs on this album are also winners such “Run Through the Jungle”, “Traveling Band” and “Who’ll Stop the Rain”, one of their best songs ever. But key tracks like “Ramble Tamble” show that their collective talent goes beyond John Fogerty’s Southern-inspired gravel. These guys are a jam band of the finest order. CCR’s sound was consistent, partially because these three albums were recorded the same year, but also because they represented a changing America at the time and were masters of their craft. This was not my favorite album of theirs, but it was definitely in the Top Seven!

Glenn Miller may have been the King of Swing but Count Basie did it better! I think it was at the end of musical cycle for Basie (40years) when this album was produced but he and his orchestra sound on-point. What I like as well is Basie himself takes some opportunities to prove his mastery outside of being a band leader on songs like Midnite Blue, where his subtle piano paves the way for the rest of the musicians. Key tracks for me are Double-O, and Duet, though the entire album is great. Basie is a badass who can blow me away any day!

Apparently in the confines of 1990’s SW Denver Swedish Pop was limited to Ace Of Base, but low and behold there was more! If Brittney Spears and Radiohead had a love child it would be this album. Listening to Nina Perrson’s cotton candy voice against a barrage of historical influences created a contrast of themes, especially when referring to herself as someone’s whore in her babydoll voice. I really appreciated this album as a predecessor of late ‘90s-Early ‘00s retro-Ska movement. Key tracks included Been It, Losers and Great Divide. This is getting another listen!

When you think Peter Gabriel: Sledgehammer. Phil Collins: Tonight, Tonight. Tony Banks and Mike Rutherford: who? But when you hear them together…damn! This is not music for pop radio. It’s esoteric, masterful story telling with musicality second to none. Just the song In The Cage is Phil Collins playing drums like you have never heard him in his ‘80s heyday. I never got really into 70’s prog-rock but this album makes me want to explore more. Key tracks for me were the title track and In The Cage. If the intention really was to create a spiritual journey, I was sent in one day! I want to listen to this one again with my good headphones at home. I get early Genesis now.

It started like a little A-Ha, mixed in some Oingo Boingo and threw in the Bjork! Come to find out, it was actually Bjork! My family did not like this but I found her work prior to her solo career good! There some good tracks on here, most of all Birthday though credit has to be given to the ‘50s inspired Fucking in Rhythm & Sorrow. Interesting listen

This was one of the few albums I remember hearing on vinyl before cassette as a kid. My sister loved this record and eventually added the cassette of it to the mix. Lovesong is a classic that has been covered by so many people. My favorite, Pictures of You, features the often forgotten bass work of Simon Gallup. But what I loved most about this Goth Rock Masterpiece were the lesser know tracks like The Same Deep Water as You and Prayers for Rain, which are teleportive in their affect. To steal a quote from “Nick and Norah’s Infinite Playlist, “why are they called the Cure, they should be called the Cause!”

Fela Kuti kind of reminds me of an African Curtis Mayfield. The music was good, particularly the title track, but to be honest it fell into the background for me after a while. I don’t think I was in the right mindset for this genre today. I have respect for it but this was a one time listen.

I have always thought that if Led Zeppelin and Black Sabbath had a love-child it would Queens of the Stone Age. There are some great tracks on this album, especially the distorted bass intro on Mexicola and You Can’t Quit Me Baby, which are two of my favorite tracks. This album is a solid entry point for their work and definite listen again.

As I was listen to the opening song’s fingernails-on-chalkboard vocals and repetitive-going-nowhere vocals of Love Sick I was shocked that I wasn’t listening to Miley Cyrus. This album was a lot more traditionally blues than I think of normally of a Dylan album. Dirt Road Blues and Million Miles could have been covers of 1930-40s era Sun House or Muddy Waters. I think that is part of the struggle I had with this album is immediately following were poppy Billy Joel-style songs like Tryin’ to Get to Heaven, and Not Dark Yet. None of these songs were bad, but collectively the album felt disjointed to me. I might be rating this too high but on a per-song-basis rather than a collective-basis, I think it’s fair.

This was a fun album that reminded me a lot of the White Stripes, with the exception of being nearly 30 years prior. It still had that post-punk edge mixed with New Wave flare. Universal Corner and Beyond & Back were key tracks.

It’s hard not to make a comment about Stevie being a visionary without a tingle of guilty pleasure. Musically he was. This album was a beautiful transition from his early R&B days with the Wrecking Crew at Motown to the disco flare ‘70s R&B . Living For the City is a groovy bop that leaves you with a touch of swagger in your walk while making a social point that still finds relevance today, while High Ground is a classic (with an equally good RHCP cover decades later). Jesus Children of America shares that same vibe of social consciousness and musical progression. Side note: I never knew how powerful his live performance was until I saw him in Summer of Soul. This album I imagine was phenomenal live.

“I have a fever and the cure for that fever is More Cowbell!” Luckily, there is Us vs. Them, which I never thought I would say, but has amazing cowbell! I tripped across LCD years ago and have loved this album since, with my absolutely key track being the aforementioned. The way he builds on rhythm and sound is intoxicating in its repetitiveness. I don’t know if there is a bad track on here. In the context of when this was put out, there was nothing like it. This is definitely a modern classic!

You know it’s ‘60s stoner rock as soon as that sitar starts playing. I have always been familiar with and enjoyed Sunshine Superman. But as I was listening to the rest I thought I needed to get some drugs to listen to the rest. Then I wanted to get some drugs to avoid hearing the rest. Celeste was pretty good, but everything in between was just too period (Stoney) specific to make a constant listen.

It’s hard not to wax poetic about the Golden Age of Rap, in which albums like this said something important. Q-Tip and crew were revolutionaries carrying rap/hip-hop into new directions by blending Afro-beats with Brooklyn rap and Harlem jazz. Key tracks for me include AfterHours, which lyrically puts you one the streets with him, and the flamenco-flavored I Left My Wallet in El Segundo.

I have mixed feelings about this album. In one respect the production quality is so huge it’s hard to focus on the talent. By the other respect her talent is so huge that it deserved nothing less than the full production. I think almost every song on here needed as a radio hit at some point, and reasonably so. Her voice has so many layers of soul and power. When I was “25” I was still hollering “Dude, watch this…!” before screaming in pain or stupidity. Key tracks included Send My Love and the lessor known Sweetest Devotion. She is definitely one of the greatest vocalists of our generation (I know she’s younger than me but damn it I’m claiming her as ours!).

This is going to be short: it’s friggen Aretha Franklin being the Queen of Soul. This album is a testament to her raw talent. You don’t listen to it, you feel it. Key tracks for me (all) are especially Chain of Fools and Since You’ve Been Gone, particularly because I love Tommy Cogbill’s bass playing.

I find myself conflicted by this album. On one hand I love me some Queen and recognize the talent and mastery of this album. Songs like Father to Song and White Queen add to the tapestry that makes this beautiful rock opera. By the other respect I think being raised on Greatest Hits has spoiled me to their more radio friendly songs. I admire the prog-rock nature of this album, but it might be too much prog for me to return to. This is a headphones and solitude album, not a up-and-out album.

When I first heard this album I kind of thought is was Royskopp with Sting on vocals. There is a worldly-psychedelic vibe to it, so naturally, I dug it! Mirrorball and Grounds for Divorce were key tracks. My only real complaint is the album felt like it petered out by the end, which was a little anticlimactic. Still enjoyed it.

I had a student last year who re-introduced me to Judas Priest. They always seemed a bit campy with their black leather and studs but listened with their perspective changed my mind. Coming off the acid rock era following the sludgy (but beloved) sounds of Black Sabbath and Rainbow, JP figured out a way of polishing this Metal and make it shine. It was fast, clean tone, precise in its execution. The interplay between Glenn Tipton and KK Downing on guitar was tight. Then throw in the masculine vocals of Rob Halford brought it all together. Living after Midnight and Breaking the Law (which I always hear Beavis &Butthead singing as “Walking the Dog”) are classics but I think my new favorite song on this album is Steeler. This album may not their best, but it’s a revolutionary jump in the speed metal world!

I recently heard that musical genres have a 40 lifespan (rock: 1955-95; Jazz: 1925-65; etc). I felt like I was listening to the death rattle of rap here. First, I couldn’t understand what the fuck saying; and after reading the lyrics I quickly learned I didn’t care. Maybe I’m too biased having grown up in the Golden Age of Rap/Hip-Hop. The background beats/sounds became annoying enough to cause involuntarily spasms to the skip arrows and uncontrollable rocking and drooling in hopes the change of stimuli would make things better. It didn’t. Englishmen/women elevated rock; complimented blues; made some kick ass Indie/alt. But I have yet to hear British Rap that wasn’t an insult to the genre. Like Ariana Grande to every man ever: Thank You…Next!

I always liked John Lennon better with the Beatles than his solo work. That being said he did have some good solo hits, and Imagine is the hands-down best of them. That song alone has sponsored so many questions about his Communist, Anti-American leanings vs the desire to live in a world free of war and all those things that have caused it. Looking at it in context tot he post-Vietnam era the context makes so much sense. I remember when my grandmother passed my aunts insisted this song being played at her funeral, which was ironic because she loved country music, didn’t like hippies and was a devout Catholic. The priest in the church had an issue with it too, which made it that much funnier. In this album, Lennon is all over the place musically, but it is a reflection of his America, which is respectable. He saw a corrupted world, and among it a vision of hope.

I don’t think any album, with the exception of Wilco’s Yankee Hotel Foxtrot, that better demonstrates the power of the ‘00 Indie movement than this one. It’s honestly a master piece and I can’t even tell you why except every song on here is so incredibly listenable. The energy and it emotes passion in ways most artists wish they could achieve. Key songs for me are Last Nite as it was the first song I heard from his album and therefore has a special place, and Hard to Explain. This is a modern classic (…note: for Gen Xers the ‘90s was like ten years ago so this by definition would be ‘modern’).

Of the post Beatles albums, I think this one might be my favorite. I had never really listened to a lot of George’s solo work but this spoke to me. It had a groovy vibe that was calming after a long, hard day. Isn’t It A Pity and I’d Have You Anytime were key tracks. If I find this one on vinyl, it’s coming home.

Listening to Parliament brings up fond memories of my ‘20s. I had the chance to see the P-Funk All-Stars at the Fillmore and it was an insane show in which after the management cut the lights and electric the band kept going until security physically pushed George Clinton off the stage. I still have a love of funk but I have to admit that I am a different person and place. This album is a classic, taking the funk genre started by the JB’s and moving forward (rumor is fueled on a lot of cocaine). Night of the Thumpasorus and Handcuffs were my key tracks, especially Bootsy Collins wahwah bass. Always a pleasurable flashback.

Born on the Bayou was one of my favorite songs to hear on the radio growing up. In all humility, the Southern rock and Fogerty’s howl led me to believe they were black. In my defense, CCR was played in sequence with Wilson Picket and James Brown so my young brain just assumed…. This album is a full-throttle CCR jam fest, with the obvious hits being the cover tracks Proud Mary and Little Richard’s Good Golly. The off-tracks are also orchestrated perfectly, with an odd favorite being the jam heavy Keep on Chooglin’. It’s often surprising that CCR lasted such a short time, but considering this was one of three hard-hitting albums they put out in a single year it’s no wonder they burned out on each other. But I will never burn out on CCR.

I recognize that Joni Mitchell was hugely inspirational to so many. There would be no Susan Vega, Fiona Apple, Sara Bareilles, or Billie Eillish had it not been for her. This album is well made and beautifully sung with key songs Blue and California. This is a headspace album, though, and I think she was writing for a specific demographic or generation which I don’t fit. No regrets, all respect, but few repeats.

I was surprised at how much jazz influence this album had. I enjoyed this album but it was definitely a period piece reflecting the ghettos of the 1970s. Key tracks were the title track and The Cisco Kid, though Beetles in the Bag had some great swagger.

I recently was introduced to post-metal band Sleep Token. They’re good but I have to admit there were times I was wondering if I was listening to pop ballads, groovy metal or broadway inspired pop rock. There is no mistaking the Cult. This is tuning the motorcycle rock. This is riding to the local dive bar rock. This is pitching a girls butt rock. This is missing two teeth in the mug shot rock. Memphis Hop Shake, Bad Fun and Electric Ocean were key tracks. Did anyone else get The Rolling Stones “Start Me Up” riff in Love Removal Machine? The only song I didn’t like was their down-tempo Born to be Wild cover. You can definitely hear the influence they had on bands like PJ, and especially early ‘00s Jet. This was fun!

This is a beautifully executed album that makes me think of holiday cotillions, cream puffs and champagne. The saxophone and guitar work is clean and smooth like silk sheets, and the double bass part on Desafinado is a personal favorite, though it does feel a little buried in the mix. I don’t know how often I would listen to this but it is definitely an enjoyable album. Now I’m ready for the holidays. Bring in the babka and fuzzy hats!

It’s hard to judge the Boss. On one hand his born in the USA uptempo songs are emblematic of the American experience and can leave you dancing in the dark. His down tempo songs are heartfelt storytelling at its best, yet not something you can’t listen to them at a wedding. This album is mostly the latter. His songwriting is amazing, and I respect that fact that you can see him preforming these in an Obama coffee shop on a Tuesday night. Key songs are State Trooper and Johnny 99, though I liked the ‘50s Buddy Holly feel of Open All Night. Much like Dolly Parton, he’s an American treasure.

This album was alright. That’s about it for me. I could see where someone who grew up with Neil would see this album as a triumph, but for me it sounded like a lot of other albums from the time like Mountain, late career Grand Funk RR or Guess Who. The second version of Hey Hey My My was different than I’d heard on classic rock radio (the first version), being electric and crunchy. Overall, there was nothing that grabbed me, and you know how much I like being grabbed 🤣

Psycho Killer is not my favorite song on this album. There: I said it. Actually, there is something about that song that has always annoyed me. The rest of the album was interesting in a good way. It was Peter Gabriel weird but better! Tina Weymouth doesn’t get the credit she deserves as a bass player. The key track for me was the opener Uh-Oh, Love Comes to Town, and New Felling.I kinda’ get the Talking Heads fascination now. Who knew all you had to do is actually listen to the album first? 🤯

Not being a NY fan, I actually liked this album. Maybe it was just down hill for Neil after 1970. When You Dance and Southern Man were key tracks for me, I think partially because I had heard them applied in context for most of my life. But even the soulful After the Gold Rush was beautifully written and performed. I don’t know if this is ready to be committed to vinyl yet, but it is worth a least one more listen, and maybe more.

Churches came out at the same time as two other similar groups: of Monsters and Men and the Naked and a Famous. I enjoyed all three as each had their own flair, Chvrches being more Depeche-Mode-influenced with its techno-pop sensibilities. I think the market for this sounds became oversaturated and I didn’t return to them, which is a shame. We Sink is great song among great songs that gives a feeling of hopeful flight. This is a solid contribution to the musical world.

Brian Eno is a renown producer and musician on his own. Throw in David Byrne and have the executive producer Cocaine behind the board and you have magic! This is ‘80s synth-pop and excess at its best. The Herb Alpert /Notorious BIG bass line in Regiment was a funk variation. Listening to this album made me feel like I went to sleep and woke in 1980’s East Germany, which is fair because he had just got done doing a two year stent with Iggy Pop and David Bowie in Berlin (I don’t know if there was cocaine or those two had just enough for a wore off on him in sobriety). Overall, he is a king of emoting: you can hear a lot of Radiohead, LCD Soundsystem and Nine Inch Nails in this album. I don’t know if I returned this one, only time will tell.

I don’t know if it was Iron Man or War Pigs that I heard first, but I remember hearing it and somehow realizing that there was more than music than the soft rock pop in the 1950s that my dad had been playing for me on public radio. Black Sabbath was hard, fast, heavy, everything my young brain wanted when I was 12. Matter fact, my brain still wants that. This album was the beginning of heavy metal as we know it. I don’t think there’s any heavy metal aficionado or even just general appreciators who wouldn’t agree that this was the start of the genre. Paranoid is just a banger that every guitar player in bass player needs to add to the repertoire. Most of this album has been covered over, and over, and over again. Planet Caravan had its best cover on Pantera‘s third album Far Beyond Driven, and I had the honor of watching it live at RedRocks with giant pot leaves emblazoned the rocks (it’s was almost as good as watching the Sabbath Reunion in 2001). What I liked about this listen were the deep cuts like Fairies Wear Boots and Rat Salad which don’t get a whole lot of radio play. Overall, this album is a must and a top entry for the 1001 Must Listens albums. Classic.

This album is the beginning of the Thin White Duke Bowie, which means he’s trying to reinvent himself as an artist has a weird mashup of styles-pop, rock, disco- and performers, including a then unknown, Luther Vandross and post-Beatles John Lennon, who helped collaborate on both the cover of Across the Universe and Fame, which was always a favorite song of mine. Overall, this album is a good one, but it’s not his best. For Bowie aficionados it’s a must as a significant part of this journey, but for fair-weather fans you are allowed to skip this.

Buddy Waters is a legend. Period. What I love about live albums like this is it shows you the energy that is produced on the recorded album is the same energy that you would’ve seen live. A lot of these older blues guys didn’t cut their teeth inside of a studio but instead from live performance hundreds and thousands of times in the Chitlin Circuit gets back in the 50s, 60s and even into the 70s. It’d be interesting to see some of the modern artists try to do what they did trying to maintain the same energy, and trying to produce a show that was absolutely perfect before they went into a studio. Key tracks on this one for me is Tiger in your Tank, mostly because it’s got such a great energy and it’s kind of a weird concept. You also can’t go wrong with I’ve Got My Mojo Working, which was hugely influential into the bands like the Doors. Overall, this album is definite must for blues enthusiast.

The Danny Warhol‘s hit it big for three reasons. The first was the introduction of social media, particularly Napster allowing them a way to get their music out there when normally they would’ve just been stuck in small club circuits. The second was the notorious movie Dig following the careers of the Dandy Warhals and the Brian Jonestown Massacre in the early days looking at the contradictions of their success and failures. And the third: the music is just really good. I forgot how good this album is. I don’t remember hearing of The Dandy Warhols until at least late 1990s. This early work is an excellent example of the development of Indie rock in the United States. He songs for me we’re Better Boys and Every Day Should Be a Holiday. I need to pull the CD out and listen to it more often. It slaps!

Did anyone else catch the Beastie Boy references throughout? The beginning of Thought @Work #2 was the same opening beat as Looking Down the Barrel of A Gun, and !!!!!!! sounded a lot like Time for Living off Check Your Head. I am conflicted with a lot of this album honestly. The rhyme and flow was on-point. ?Love proves why is one of the best drummers of all time throughout, but then the continuous racial references made it feel like I don’t belong to this album nor it to me. Maybe it’s just my “woke” socialization. The Seed (2.0) was a smooth jam that got a few listens. Complexity was pretty good too and I liked how Black Thought’s vocals were a jazz solo in themselves, especially paired with Jill Scott’s smooth vocals. There is no mistaking the talent here.Thirsty should have felt more displaced but somehow fits. The production was an emotional rollercoaster not right for every occasion but worked. If I believed in Napster style downloads I would turn this into a well edited set of mixtapes. But that would be illegal and I would never…anymore.

Ill Communication is a confident B-Boys. Having been through the constant legal and personnel battles around Paul’s Boutique, and the return to their punk roots for Check Your Head, IllComm was a perfect blend of their various styles into a cohesive contribution, even adding some East Coast swagger to their new West Coast digs. Sabotage is a modern classic (well, I guess not that modern anymore) annd an perfect song for doing something incredibly impulsive. Other key tracks are the Scoop and Sure Shot, but a shoutout to MCA’s newfound Buddhist conversion with Bodhisattva Vow. As far as I know, it’s the best rap ever placed against Tibetan Throat singing.

ELO. Man, they were an interesting blend of the Beatles, Pink Floyd, Yes and Bob Seeger. Knowing my pleasure for Progressive rock I feel like I should’ve liked this album better but there was something about it that just didn’t grab me. The talent: obvious. The orchestrations: excellent. But after two listens there weren’t any songs that I felt like listening to a third time. Jungle and Sweet Talking Woman felt like they could have come off Sgt. Pepper. I don’t hate this album. I could listen to again. I’m not sure I would go looking for it and I can’t even tell you why.

Ifamericatoldthetruthforonedayitsworldwouldfallapart may win for the longest title. This band was interesting, though I don’t know if it was a “1001 Must Listen.” It had a post-punk/post-grunge ‘00s feel that sat isomewhere in between Collective Soul and Radiohead, with a bit of Placebo and Cure mixed it. Of Walking Abortion was pretty cool as a song, and I really enjoyed the vibe of She is Suffering, immediately following. It’s interesting that I had never heard of them before. Overall, not bad! I’m probably going to give them a few more listens.

If George Thorogood started a shitty late-career Doors cover band, they would call themselves Flamin’ Grooves. City Lights had a blue-eyed bluesy drift to it. Evil Hearted Ada could have been the song Elvis was singing before he crapped himself to death. I found that most of this album you could randomly advance the scroll bar and it didn’t change the song. Overall, like drinking absinthe, I don’t regret listening but I won’t be doin’ that again.

When I saw Beach Boys Surfs Up! I was expecting Surf City! Fun! California rock! What I got was a drug filled journey through the delusional mind of a burned out set of song writers. I respect their desire to be more socially conscious and world-saving. Pet Sounds did exactly that! By the time the album was done I was hoping an asteroid would hit the planet so I could stop listening to this album. Saving grace: Carol Kaye’s bass playing which is more obvious than ever (they couldn’t even pretend one of them was playing). This will not be added to the vinyl collection. …Next!!!

This was a surprisingly bluesy. I’ve listened to a lot of Stones albums and been dumbstruck by the fascination. With this album, I totally get it. There are some definite bangers on this album. Street Fighting Man is a great song. I also really enjoyed Prodigal Son. But to be honest, any casual listen nor ardent fan can’t go wrong with Sympathy for the Devil which is probably one of their greatest hits of all time. Overall, next time I see this album I’m probably gonna buy it on vinyl.

On the world if upcoming pop princess escaping the disco ecstasy of the ‘70s roared in the GoGo’s, and this album is awesome! Combining pop& punk and feminine rage these gals lay down back to back to danceable hits! You Can’t Walk In Your Sleep and Fading Fast are contrasting pop-punk and ballad-ish feel. But they sit right in the pocket with their most famous hit We Got the Beat. I may be over rating this one but I really dig this tonight!

Listening without prejudice is kind of a new one for me. When this album first came out, I never really put a whole lot of credit to George Michael. The album is actually is pretty good though. I agree that a lot of it for me, is passable. It’s very vocal jazz, which reminds me of the holidays. However, I respect that he really does take you to church on a few songs. Something to Save it is a very pretty song and he sings it beautifully. But, man Freedom: I forgot how good that song really is. I don’t think that I need this album, but I could probably definitely handle owning a best of George Michael.

Anytime you start track-one side-one of an album talking about having sex with black women and track- one side-two with the song simply called Bitch you know you either seriously don’t care or you’re looking for some shock value. It was 1971 after all. Ladies and gentlemen, let me introduce you to Sticky Fingers. This is actually one of the best Stones albums. Throughout this album arestrong hits such as Brown Sugar, and Wild Horses, one of the slowest & most beautiful songs that the Stones had ever played. What I appreciate about this album though is it’s easy to forget that Keith Richards was more than just the inspiration for Jack Sparrow but instead was a phenomenal guitar player in his own right. This album truly shows his diversity from the soft ballads to the bluesy to the hard rocks. I think my favorite song this listen, and there has been many, was Moonlight Mile. I’ve listened to it before but something about it tonight really hit me. Overall this album is an absolute classic.

For a house/trance mix it wasn’t that bad. There were elements of early 1990s Enigma mixed with influencers you can later see with DJ Tiësto and French DJ Vangelis. I wasn’t quite sure I needed a double disc, though I have to admit, that I put it on to clean the house and it was a good listen. Not a dinner with the family album but a martini bar and get shit done album definitely.

Listening to MGMT nearly 20 years after the album was put out brings along with it a touch generational clarity. As I was listening to Time to Pretend, I realized how much of a Millennial anthem it was as a two individuals are continually talking about a listless life, void of responsibility, and can only present itself as a state of Peter Pan syndrome. This by no means is intended to sound as condescending as it may have come off. But as I listen to songs, I kept recognizing different variations of the constant pursuit of self identity, especially pointed towards a generation that was coming to age in the advent of social media, smartphones, streaming, and other forms of technological convergence, which provided everything that they would need in the palm of their hands. This album is actually filled with really good songs, such as the ethereal The Youth, and probably the most famous track Kids. Overall, if I was building a time capsule from the early 2000s to try to explain this generation, this would be a definite must.

I had to go pull out the CD and the headphones for this one. Radiohead’s OK Computer was influential in so many ways for different times in my life. The song Exit Music I first heard in the Romeo and Juliet soundtrack. I loved it then because of its mood emotions. It wasn’t until years later that I listened to OK Computer and its entirety, and fell in love with it all over again. There are so many great songs on here, including Airbag, Paranoid Android, Karma Police, and my personal favorite Subterranean Homesick Alien, which made it onto my life soundtrack. This was right when Radiohead was in the pocket and is arguably one of their best albums ever. An absolute classic.

… It’s all alright…. …just kidding. It’s hard not to listen to Seven Nation Army and just realize how freaking amazing that song and this was/is. It truly is probably the greatest anthem of the 21st-century so far. I gotta say I really did enjoy I Just Don’t Know What To Do with Myself as it was weird and quirky and the strangest cover ever. I also really liked in the Cold, Cold Night because it’s easy to remember the Jack White was the charismatic front man, but Meg pulled her part too. It’s even more amazing knowing there was that much sound from only two people. I a world of NSync and Brittney, this album was the antithesis. Today, it still stands out as a classic!

Looking at this album my first thought it was gonna be some stoner folk from the 1970s. Initial response: not really interested. But I gotta say I was actually kind of surprised on how much I liked it. There are some really good tracks on here With I think my favorite being the horn-laden song Down. Gotta Get Up is a great opener, and the bluesy Early In The Morning showed some good blues mastery in such a simple song. There are a couple of bad tracks on here as well, such as Moonbeam Song and I wasn’t too fond of Without You as it sounded like a Beatles knock-off. Overall, I’m not sure if this is a commit to vinyl album, but it’s definitely a listen again.

The first song Ghost Rider caught my attention quickly, especially since I have loved the comic book character ghost Rider as a teenager. matter of fact, my daughter just got me to go to comic books for the holidays. The hard part I had with this entire album was I felt like they were gonna be dropping the beat and it was just gonna release at some point and it never did. There was a lot of strong punk influence having been made right in the Golden Age of punk, which only lasted less than two years. But some also felt a little before it’s time echoing some of the early keyboard signs of OMD and Pet Shop Boys. It felt like the missing link between Lou Reed, Sex Pistols and modern techno-pop. I don’t know how often listen to this one, but it was a fun listen.

So I was thinking about the songs that ended up on the radio from this album. Rolling in the Deep was the first song I ever heard of hers. It was strong and powerful and accompanied by a really cool video. Then Rumor Has It came on which I’ve known very well. Then they was Turning the Tables followed by Don’t You Remember, and Set Fire of the Rain. I finally heard He Won’t Go, a song that wasn’t on the radio. Then I realized it too was on the radio. Matter fact, I think out of this entire album I didn’t hear one song that was on the radio, just some you could hear more than others. This is definitely one of the strongest contributions to music in the last 20 years. There’s so many great songs and her voice is just phenomenal. I loved her version of Lovesong by The Cure. But I think my favorite track on here is actually the one I heard the least which is I’ll Be Waiting with its retro-Motown feel. This one is definitely a modern classic.

The first time I heard White Winter Hymnal by Fleet Foxes was on Mop Mix 2008 track-8. The last time I heard it was a week and a half ago when both my local middle school and high school covered the exact same song. It’s funny how sometimes such a simple song could end up creating such a lasting impact now over two full generations. Fleet Fleet Foxes were always the perfect early morning album. Their soft melodies and ephemeral rhythms were a perfect calming way to start a good day. I actually forgot how good this album really was. It has a beautiful way of offering huge production that simultaneously is coffee-shop personal. Key songs for me for Ragged Wood, and Your Protector, though I have to admit next time I listen to it I’ll probably pick two different songs. This is definitely a Must-Listen kind of album.

Somewhere between STP, Green Day and mid 90s Radiohead grew the Vines. I loved how the first song Highly Evolved drops you right smack in the center of the song so it feels like you missed an intro but didn’t. There’s so many great songs in this album. I’m surprised I hadn’t heard from them earlier. Craig Nichols guitar work is incendiary and his solos kind of remind me of David Gilmour while his vocals definitely have a tinge of Scott Whelan in there. Key songs for me were Sunshinin’, the poppy Factory, and the groove heavy 1969. This is this is a good listen again.

Thank you 1001 Songs for giving me this Christmas gift. First, let’s address the controversy: Phil Spector was murderer. Now it’s out there we can enjoy the music. The Ronnette’s version of Frosty the Snowman and Mommy Kissing Santa Claus have been a part of my life for as long as I remember. Throughout this month, I’ve already heard Santa Claus is Comin’ to Town and Rudolph by the Crystals numerous times. And how can you go wrong with anything that Darlene Love does. True, I’m a sucker for classic R&B. But this album is fantastic and evidence of the production talent that crazy shameless murderer had. Hell, on 2024, he’s be considered a viable Presidential candidate! Happy Holidays, Merry Christmas, joyous Kwanza, Happy Hanukkah, y’all!🌲🎅👍

It’s gonna sound kind of like a negative critique, but the Charlatans sound somewhere between and a lot like early Stone Temple Pilots and the Verve. They are pretty good overall, with some key tracks like Tellin’ Stories and One to Another, but I feel like I’ve heard it before. I likes the jam-band feel when they fell in the pocket. I could listen to this again.

If this would’ve been the first Joni Mitchell I heard I’d probably be more of a fan. This album is much more playable and upbeat with some great 12 string guitar work. I actually enjoyed the song Help Me and Free Man in Paris. This album had a nice tonal blend of softer hits with great storytelling and uptempo quirk. She seemed like she had fun making this album. Twisted was a curious jazzy rap about therapy. Of her albums, I can actually listen to this one again. Probably won’t look for it but could listen.

Growing up I heard a lot of Elvis around the house due to my mom, and he was a mainstay on local radio my dad played in the garage every weekend. He has always been a top artist for me, but I have admit that I don’t know how much of that was socialization and how much his actual talent. This album, made 9 years before his death, shows a different side of Elvis: the conflict between the man who loved music and the commercial commodity. Suspicious Minds has always been one of my favorite tracks of his. There are some other tracks, like In The Ghetto, that show his socially conscious side, especially the same year MLK and RFK were killed. What’s interesting is songs like Black Limousine draw a lot on his gossip roots which he reverted to later in his career as his drug addiction and show schedule both escalated to unhealthy levels. Was he “the King” or was he just good marketing? I think a little bit of both. But this is a good album for me!

Adam and the Ants I think is a context kind of album. It felt like the British response to Oingo Biongo which was started in 1978 both of which were on the tail end of the postpunk movement and pioneered the Alt—Rock genre. If you grew up on this I think it could your genius (the way I did on Biongo). There are some good tracks on here like Ant Invasion and the reggae-inspired Making History. However, a lot of this album felt like other stuff that I had heard. I didn’t dislike it, matter of fact I enjoy listening to it. But I’m not sure if I look for it.

My daughter described it as B-List polka meets wanna-be-Buddy Holly. The irony is she hadn’t seen a picture of him to know she’s not entirely wrong. Actually, I can’t disagree with any of it. His voice always sounded like he was suffering from an extreme case of constipation and what came out was his discography. I didn’t finish the 2nd disc. The music wasn’t terrible but you could have replaced it with Billy Joel or the Boss and it would have been better. I know a lot of people love him. I know a lot of people love Malort too, but I’ll pass on a second shot (actually, I preferred Malort!).

Zeppelin is divided into three eras: before PhyG, PhysG, and after PhysG. IV was an amazing album. Houses carried over much of the same pathos. For me, though, Physical Graffiti was the Greatest Album of All Time! Where earlier LZ albums were infused with opulent & often nefarious lifestyle choices (they wrote the book on how to ‘party like a rockstar’, e.g. Red Snapper Incident) Graffiti was LZ at their most focused, most experimental, more international...their most everything. Kashmir is pure masterpiece and, in my extremely biased opinion, the best song ever recorded (sorry Bach, Mozart, Paul, Bob, Dylan, Miss Bareilles). I remember the exact moment and location I heard it when I was 14. Ten Years Gone is an epic ballad of blues-influenced storytelling and guitar mastery. Wonton Song is as much fun to play as it is to listen. Boogie With Stu (stolen/influenced by Ritchie Valens) is a ‘50s throwback for the ages. Black Country Woman is a bluegrass soaked jamfest. I could go on about every song. This album has just gotten better with time. If someone ever asks, “What’s rock ‘n’ roll?” Hand over the headphones and blow their minds.

Band leaders are always hard to judge because you are judging their talent as a writer, but also the talent of so many unknown artists playing with them. Duke Ellington is an American icon, and this album is really good. It recalls days of sitting in Jazz Band class playing Take the A-Train. This album was well done and very listenable repeatedly.

I am so curious to know the story behind Vicar in a Tutu! It was a fun song on an album I hadn’t listened to previously from a band I never put a lot of stock in. True, I was really young when this album came out but the Smiths were described to me a a depressed Cure, which says a lot. I was mistaken, as this album was pretty good, though thematically it does appeal to a specific demographic. There is a Light… feels like it was a movie soundtrack at some point, while Cemetery Gates was surprisingly upbeat. I could listen to this album again, and probably will soon.

The late 1990s British scene had a sound. You could take many of these songs and place them on Radiohead’s The Bends, the Verve’s Urban Legends or Oasis Be Here Now, and you would be hard pressed to tell the difference. Luckily I like all those albums, and this one too. #2 Song is a classic which you couldn’t escape when it came out, and some local radio still cycles regularly. Country Sad Ballad Man feels misplaced yet right in the pocket of this album. As the album progressed it seemed to get weirder, Blur thought this might be their only shot to pay homage to all of their influences. Overall this album is a bit of a time capsule, but a pretty good one!

If the band Skwert would have put out a second album it would have sounded like this: very garage punk. Naturally, I didn’t hate the raw aesthetic, but I also can’t be too complimentary about the musicianship. Key songs for me are Lexicon Devil and Communist Eyes. It was a fun listen but I found myself drifting before the end of the album. There is only so much raw punk I can take in a day now….

The opening song Soul &Fire, grabbed attention, and I actually really enjoyed it on this early morning, though the tempo change in the first 12 secs was weird. As the album continued forward, I started losing interest. By the third song Telecosmic Alchemy, the bad harmonica threw me for a loop. It bounced back a little bit with Happily Divided. Sacred Attention was a strong contribution that I’m surprised didn’t make it bigger in the 1990’s, but then Emma Get Wild felt misplaced. This album collectively felt like a grabbag of genres, some well executed and some not ready to leave the garage just yet.

Of Springsteen’s albums this one is my favorite. I think part of it was because this album was so prevalent in our 1980s upbringing. The other thing that I’ve always appreciated about this album is it’s got great storytelling and engaging music that you don’t need to interpret. This is a straightforward Bruce Springsteen rock as you can get. I always found it ironic that politicians used Born In The USA as their theme songs, knowing what this song is actually talking about. And I personally dare anyone to sing along with Dancing in the Dark and not do the Courtney Cox dance. These were truly his Glory Days and this is truly an American classic.

When you listen to classic rock radio, you hear Boston frequently…all off this album. Tom Schulz and Barry Goudreau’s guitar work on “More than a Feeling” and “Hitching a Ride” are incendiary in both their arrangements and performance. Their tone offers a perfect complement to Brad Delp’s incredible range, as noted on “Hitchin’ a Ride”. But my (everyone’s) favorite comes on the almost 8-minute epic “Foreplay / Longtime” where the entire band gets a chance to not just shine, but blaze! Fred Sheehan’s bass work paired with Sin Hashian’s drumming lay a foundation that Barry and Tom build on, and Brad crowns a capstone at unprecedented heights. My only complaint is that this song should have been 1st or last because it’s so good it kind of leaves you spent. Unfortunately, like all bands mentioned that found perfection first, Boston put out a 2nd mediocre album two years later, and several more every 8years after. But, man, what an album…

I started listening to this one night with my daughters in the room and found myself moving to shut it off quickly. The sophomoric nature made me giggle at first as though I was back in junior high. But the more I listened (without my daughters around) the more that sophomoric humor wore on me. The rap and flow was a cool throwback but overall I would like to say I evolved from this and find so little relevance. I think history can probably let this one go…

I had heard this album before and appreciated it then. After reading more about it I have officially moved from appreciation to full on admiration. Rod Stewart’s vocals on here are epic, bluesy, nothing like the swaggering drunk romantic pop star of the 1980s. Ronnie Wood’s bass playing could only be better if it was John Paul Jones, which also happened on Bolero, along with Jimmy Paul on 12-string and pre-horse tranquilizer Keith Moon on drums. … it cannot be disputed the star of the show is Jeff Beck himself fresh off the Yardbirds and stretching his versatility as one of the best gunslingers out there. What I love about it is he isn’t a frontman, but a member of a group of musicians who love music, and the Dixon cover Ain’t Superstitious is a perfect example. I don’t know if this album is his best, but it was definite coming out party. This is a commit to vinyl kind of album for me…

It was hard to describe this album. Oasis was one of those bands that rose through the ranks to become one of the best bands in the world, then discovered it was only in the Gallagher brothers’ heads. This album is good but, maybe reflectively, sounds like so much other stuff. They’re kind of the Nickelback of Britpop: likable, familiar; formulaic. Up the Sky was an ear grabbing track, and Cigaette’s and Alcohol had an almost G. Thoroughgood vibe to it. They’re kind entire album felt like it should have been in either a Mike Myers or pre-Joker Heath Ledger movie.

I have been a casual Cars listener for my entire life, but I never realized how much of my knowledge came off this album. What kid on the ‘80s didn’t want to let The Good Times Roll with My Beat Friend’s Girl who was Moving in Stereo and who was Just What I Needed. I was totally All Mixed Up because I wanted to Be …In Touch With Your World. But, since I was only in elementary school, this album was All I Got Tonight, so Bye Bye love!

I always wonder: if Amy Winehouse wouldn’t have joined the 27 Club, would have she been remembered the same way as Duffy and Joss Stone are? There are some good tracks on here: No Good; Rehab; Back in Black, Love Is a Losing Game, all of which were radio darlings. In between were songs that were reminiscent of Darlene Love, the Chiffons, and Supremes, and many of those would have been even considered passable in the 1960s in which they are emulating. Admittedly I loved Amy when she came out because nothing sounded like her, until everything sounded like her (e.g. Bruno Mars, et al), but was she revolutionary? No. Did she do anything we hadn’t heard? No. She was the Sublime of the ‘60s R&B scene 36 years after that scene. It’s still a good album but I think her death gave it the impetus to be called legendary, not the music itself.

Wow! I was surprised I have never heard of this artist before. I actually really enjoyed this. People was a great track is a kicking groove while Like Fire was a listen again immediately. I kind of get why she didn’t take off as much in the US as she moves constantly between jazz, singer songwriter, to disco/ blacksploitation era funk. She did each masterfully but I think the diversity could hurt her commercial appeal. I want to listen to this a few more times….

As I was sitting on the couch listening to this, my skin started to vibrate and the flashing lights started to illuminate around the room in a Vicodin induced post-car-accident flashback of the early 2000’s. Yep, that was first and only time I had heard this album. In truth, was it House? Was it Trance? Was it techno? Can I name any song? Who knows, or cares for that matter. It’s repetitive music appropriate for martini bars, high-end hair salons and that artistic hipster’s house as they’re trying to tell you their most recent splatter painting is their interpretation of the friggen Mona Lisa. 1001 Must Listen? Probably not. Fun flashback. Sure.

I first heard Leonard Cohen from the Pump Up the Volume Soundtrack when he did Everyone Knows (also covered by Concrete Blonde). I always found his music intriguing, though not my normal likings due to the very French Noir vibe. His music was much better than I remember, but I think both of us added a few years. Traveling Light and If I Didn’t Have Your Love were key tracks, but after a while his warm Merlot voice becomes like AMSR and I just want to drift away. He would make a helluva’ Hades in the musical Hadestown (if you are unfamiliar, give it a listen: it’s worth it!).

When this album came out it was tongue-in-check sophomoric humor blending shock-rap and pop culture. Little did we know that this was the introduction of genius. Songs like “My Name Is” were received some radio play but most of this album was listened at parties or on cars due to the graphic and psychotic nature of the protagonist (antagonist?). As both Eminem and I have gotten older this album appeals to me less because it focuses most on shock factor, especially when compared to his master work on Eminem Show, Marshal Mathers II (Rap God is impressively fast) and even his most recent album in which he kills Slim Shady at last (Guilty Conscious II is a career culmination gone wrong but so rightly done!), which seems long over due in retrospect. Back then he was doing what no-one else was doing, and now everyone in rap and film is opening a door into their dark psychology. I don’t know if we are better off for it….

Confession time: I was never really a huge Nirvana fan. I was more of a Pearl Jam guy. It’s hard not to mention Nirvana for the massive cultural influence that they had on the early 1990s. As thrash metal was becoming more pop and pop and alternative bands were ruling the airways Nirvana had that 1970s punk edge with a better sound and more reflective lyrics. Playing in a punk band during the time we attempted to emulate a lot of what Nirvana had started. There are some great tracks on this such as Lithium, Polly, Territorial Pissing, and Bloom, Come As You Are, and best of all Teen Spirit. I can say I really enjoyed On a Plain this time too. And Something in the Way. For me this album is four but as soon as I start talking about it, I find myself giving reference to all the songs that I thought were OK at the time, but all those OK songs added up. A five it is!

Well, another Neil Young. Some of the songs on here are great, such as down tempo Borrowed Time, or the uptempo Look Out Joe, or On a String, with that rockabilly swagger that reminded me of CCR. There some okay songs on here, like Albuquerque with that old country-music sound. And then are songs like Tired Eyes and the harmonica soaked Mellow My Mind that can only summed up as the reversal to Viagra. Who needs a cold shower and saltpeter when you have bad harmonica and Neil attempting to squawk notes out this range. Don’t regret listening. Probably will sandpaper my ears off if I have to do it again.

When you think Alt-rock you would be hard pressed to find a better representation than Sonic Youth. This is one of those great “no-hit-wonder” kind of albums somewhere between psychedelic space rock and hipster pop. Honestly, I like some of their other albums better but I appreciate the rawness of this one. Catholic Block is blasphemous fun, and PCH feels like an acid trip that last longer than 4 minutes. For me, Cotton Crown was the best track. This is a listen to again and a solid entry.

I think being a white boy who found Bob Marley while in a liberal arts college gave me a much different perspective than should be. Like many of us I learned about Bob Marley through the epic album Legend which is a compilation of his greatest hits. But I think albums like this really give you an opportunity to see Bob Marley for what he really was: an activist and a revolutionary. Stop It Up is a great song. However, other songs like Stop the Train (my favorite on this album), 400 Years and Slave Driver really give an idea that he was fighting for something much bigger than for 1990s middle class boys to be sitting around a college campus listening away. This is as historical as it is relevant even in modern day.

This morning I was looking for something a little mellow to gain my focus. You can imagine my surprise when Mr. Cave came out the gate swinging with Get Ready for Love and followed it with Cannibal’s Hymn. It’s obvious he had something to say here, and damn it he was gonna’ say it! Key song for me was There She Goes… Definitely different from previous work but a pretty good risk and reward. Well played Mr Cave!

Every self-respecting bass playing aficionado has listened a Roundabout about 1000 times. Some of us have even forgiven Chris Squier for using a pic on it. Outside of that I don’t know if I’ve ever listened to a full Yes album before. The hard part about listening to Yes is that Prog-Rock can’t be listened to passively. It is musically dense and masterful, which constantly requires active listening. Aside from Roundabout, South Side of the Sky was a great song, though I wasn’t quite anticipating getting a George Gershwin style piano solo in the center of it. Other key songs were also the Fish because I couldn’t tell exactly where I was going and it felt like it was a whole lot longer than two minutes. Mood for the Day was pure enviable guitar showing off. This album is definitely listen-to again with headphones in a dark room with a lava lamp and some YooHoo soda.

I think I came to Kiss too late in my life. Throughout my youth, I always heard about Kiss: the drama, the hype all of it, and the commercialism and monetization, and then the music somewhere in between. For me, the band Kiss is the Philly cheesesteak of rock ‘n’ roll: soft when it needs to be; meaty when it needs to be; but completely covered in manufactured CheeseWiz all the time. There’s some OK songs on here such as Detroit Rock City and King of the Nighttime World. Most of this album is like God of Thunder: humorously bad. It’s like Steel Panther but at least they are trying to be bad! Overall Kiss just seems… well… inauthentic.

Skepta, takes us on a tour of North London Rap and a reflection of English society that’s not common. I actually kind of enjoyed this album. The song Crime Riddim was pretty hard hitting and gave inside into what his life is like in a way that actually felt credible. Usually British rap comes off fake. Skepta actually give it credibility. He’s kind of like the Tech N9ne of London. I could listen to this again.

I’ve always had respect for Sheryl Crow, though I can’t claim that I have ever truly been a full-on fan. She had the ability of taking the classic storytelling of country and blending it with good pop-sensibility and singer songwriter heart. On this album, No One Said It Would Be Easy is a perfect example of her mastery of songwriting. I know some love All I Want to Do but hearing it again after three decades of saturation leaves me feeling like All I Want to Do is change the song. It’s a good song-fun; boppy-just very overplayed. Luckily the next song We Do What We Can is a bluesy ditty with a lot of heart. You can even hear some Sara Bareilles influence win here. I am proud to call Sheryl one of ours (…as if I had anything to do with it!😀)

Get your dinner of bats and LSD ready: it’s Black Sabbath time! Again, I have heard Black Sabbath my entire life. I enjoy hearing some of the classics over and over again, but I actually enjoy listening to some of the deep cuts. I don’t normally get to hear even more. Geezer’s bass intro on NIB is a classic every bass player must know. What I appreciated more this listen was the continued jazz undertones Bill Ward used throughout, especially on Sleeping Village/Warning. This album definitely was less focused on the hard-driven rock and allowed Sabbath to show how amazing they were all musically. When people rip on metal, this is a good album to play for them with a healthy “HA!!!!”

I think one of my first introductions to Iggy Pop was the part that he played in the movie the Crow: City of Angels. He’s a weird dude man! This album is actually pretty good and you can definitely feel the Bowie influence on it in the punk world he is considered to be one of the fore fathers of the movement but outside he has had many singles that are cemented their way into history. Lust for Life is a classic used in a variety commercials and TV shows. But I have to agree The Passenger is probably his best song on this album tonight. Sounds like it could’ve been off a Bowie album. I was impressed.

This one might be my new favorite Black Sabbath album! Many of the songs on here I had not heard before, with the exception of the very uncharacteristic song Changes and Supernaut both are great songs, but I think Snow Blind took my number one spot with Tomorrow’s Dream coming in number two. Overall this is a highly listenable album With a little bit more of the early heavy metal grind and greater depth of lyrics. This may be Black Sabbath at their best.

Much like Van Halen the trajectory of Peter Gabriel and the band Genesis is always a curious one. Many feel that Genesis was an amazing Prog rock band while Peter Gabriel was there and that Phil Collins destroyed it. But listening to Peter Gabriel‘s album So… It shows that both bands were going to be more pop rock as time moved forward. Songs like Big Time, which were in John Cusack’s movie One Crazy Summer and In Your Eyes which was in John Cusack’s Say Anything make this a marker of a time. This album is probably his best album that he has done, but it definitely ain’t prog rock. Debate closed; cheers to Phil Collins, and hats off to you, Mr. Gabriel.

Somewhere between 80s pop and 70s punk lies the Damned. This album was thoroughly… okay. I know they had a heavy influence in the 80s but as for their own album I think you had to be there in the time when this came out for it to have an impact. Antipope was a good punk ballad, and I was familiar with the song Liar but overall this album for me was a one and done.

I remember when this album came out, it was blown away by the neon cover of it. Sadly, I think I’ve listened to it maybe once or twice with little interest at the time. We listening to it now I realize how powerful this band in this album really is. Key tracks, most of them honestly, were Show Business and Check the Rhime. I loved the interplay with the smooth rap weaving between the members and the jazz-based flow. They were the apex of the Golden Age of Rap, hitting controversy without being controversial in their delivery. I can going to come back to this one again.

On the late ‘90s/ early 00’s I went through a Rat Pack phase where I was nonstop vocal jazz extending from Dean Martin to Nora Jones. Prominent among them was Frank. The song that drug me into this era was “Under My Skin”, which I still love today. A coworker once told me that Frank wasn’t that great of vocalist and was far overrated. Over the years I realized I don’t disagree about the first part. He wasn’t the best singer. However, he emotes a certain swagger in his music that lent to its authenticity. Sure some of music is campy, (eg, You Make Me Feel So Young), but it was also 1956! Most things were campy. I enjoyed listening to this for a variety of reasons including the music. Most of all, I enjoyed the memories of that curious time in my life dancing to these songs in my own living room with whomever was the date of the day or prepping to head to the martini bar. I can only imagine the feeling this evoked for the generations who listened to this new.

This was one the most “borrowed” tapes from my brother’s collection, though at the time neither of us metal heads would publicly admit we loved this album. There was something epic yet so incredibly personal about this album, like stadium-rock in a coffee shop. Man on the Moon got the radio play but Drive and Everybody Hurts had made their way onto many-a-mixtape. Really, there isn’t any song on this album that wasn’t good. I even liked Try Not to Breathe which starts a little medieval mistral and flawless transitions into a grand folk ballad for the ages. Michael Stipe gets a lot of credit, but Mike Mills haunting vocals and solid bass work, Peter Bucks driving guitar and Bill Berry’s drumming add to the tapestry that made Stripes opus successful. Discovery note: Led Zeppelin’s John Paul Jones did the orchestrations. No wonder it’s friggen great!

I had never heard of Kelela before. She is a great singer for modern R&B. I appreciated the ethereal vibe of her music which blended with her silky voice. I appreciate too that she sounds different from the other pop princesses out there like Arianna, Demi and Selena Gomez. Key songs were LMK and the opener Frontline. Unfortunately her music was so smooth that I started zoning after a while. It is a good album, just not my personal preference.

This band is the English Oingo Boingo. I actually really enjoyed the strange alternative sound that this album delivered. It had pop sensibility with good quirky weirdness. Key songs were Twilight of the Champion and Angels of Deception, though I don’t think any of the songs really caught me as skippable. I can listen to this one again.

It’s hard not to open up this album and immediately go to side two track one Smoke on the Water. Every guitar player learns this riff as one of their first. But beyond that it is one of the most recognizable songs in classic rock. Despite the simplicity of that riff, Songs like Highway Star and Pictures of a Home, remind you that Richie Blackmore is one of the best guitarist of the classic rock era. I also have to give a shout out to bassist Roger Glover on his fat solo on Pictures too. This entire album is just dirty, dirty good. Ian Gillian became a huge influence in Iron Maiden and so many bands coming out of the UK in the late ‘70s. I don’t know how much Deep Purple I really need, but I’m glad I found this one!

This album really was the emergence of Eminem and Slim Shady as we knew him. The Real Slim Shady was an anthem that I think had the greatest impact when he and a mafia full of bleach-blonde white dudes, and muscle shirts walked in to the VMAs and shot to the world. But behind the shock value, there are also some deeper songs such as the Way I Am, and the tragic storytelling of Stan. It’s also hard to dislike the song ****** Please II with Eminem, Dr. Dre, Snoop Dogg, Nate Dogg, and Xzibit. Overall, this album is definitely a classic, especially in the Rap world.

Van Morrison is a classic artist! The problem is his best songs are a scattering of songs across numerous albums, so I thought that a live album would be great. I am a little disappointed honestly. Some of his songs-Including my favorite Into the Mystic—sounded very late-stage quaalude Elvis. Domino was good, and listening to the Them classic Gloria was fun, especially when he was the originating artist (though the James Brown “Good Gawd” was a bit of an homage/stretch). Favorite track was the very jazzy I’ve Been Working, which had great sax work! Overall, this wasn’t English rap, but I think I would rather listen to his studio albums.

It’s easy to forget that Martha Stewart cooking collaborator; T-Mobile spokesperson and football coach father/cultural icon started out as a hard hitting West Coast Gangster rap artist, produced by the guy who makes headphones and is Eminem’s bestie, and they worked for a convicted murderer/mob boss who may have ordered the execution of Biggie (if Diddy didn’t). When I first heard this at 16 it was giggle-and-hide rap that you never would play around your parents, but very much of the age and area we grew up. Now, as a suburbanite father of two daughters, it listens a little different. I forgot how George Clinton inspired it was, including numerous cameos of the Godfather of P-Funk himself. Key songs are predictable: Gin &Juice; Murder was the Case; and G Funk Intro. Overall, it’s still a classic album, but it’s now giggle-and-hide from your kids.

If the band Wilco was a bunch of math heads and jazz musicians, they would be the band White Denim. This was a pretty impressive album overall. Songs like Bess St. and It’s Him! we’re perfect examples. The song that made me stop and really listen (and play back) was jammy Back On The Farm. Their musicality was exemplary, progressive but not overwhelming, which is a good thing! I could definitely listen to this album again

This was one of my dad‘s favorite albums, so I heard it frequently as a kid. However, listening to it now with headphones on definitely brings a different vibe than it did when I was younger. First off, I never realized that Scarborough Fair weaved the old rhyme with a very in-depth anti-war theme. I had to listen to it twice is surprise that it took this long to notice. I finally get it why that song was so impactful and not just beautiful. Homeward Bound is still a great song that brings up fond memories for me. 59th St. Bridge Song is Simon & Garfunkel classic. And 7O’Clock News/Silent Night: wow! What a statement. But I think my favorite song this time was a Simple Desultory Philippic as it gave a really cool view of their America in 1966. I can only think that this was how so many Americans felt then. Lord knows I feel like this now. I don’t know if this is my favorite Simon & Garfunkel album, but it is definitely a winner.

I remember when this album came out. It had such a massive impact being one of the first anti-war albums of the early 2000s and speaking out against George W. It’s weird to think it’s been over 20 years at this point. I remember it was also controversial because so many people in the punk world said that Green Day had sold out. But by contrast, they made punk accessible and resurrected it from a burn-hot-&-die-out genre that it had become. Was it more commercial? Yep! But in doing so Green Day allowed bands like Blink-182, Against Me, My Chemical Romance, Sparta and others to find success in the 2000s. This album is truly a classic for so many reasons I think this listen my favorite songs were the one that I didn’t hear is frequently such as Are We the Waiting and Extraordinary Girl every once in a while, it’s fun to pull this one off the shelf and give it a listen.

Chic was good at what they did, particularly guitarist Nile Rodger and Bernard Edward’s on bass, both of whom were just as legendary in rap remixes/samples as they were in disco. I listened to this album a few months ago as I had found it in a record store and was considering it. There are some classic vibes on here: le Freak; I Want Your Love; Happy Man! These are the songs that made the generation. There are some others that, though played well, lack the same vibe-ability, and get redundant. If I was doing lines off the bar above the neon floor in a polyester suit with my pompadour waving like my pointed fingers hailing the heavenly gods above, this entire album would rock. That’s not the case. Overall, I learned I am a Best of Chic kind of guy. Respect to them for being the best of the genre, just not my preferred genre.

So “Derek is Eric” and “Eric is God”! In an act of Blind Faith (Clapton’s previous Band), Eric fell in love with Patti Boyd and penned Layla (“you got me on my knees, Layla”) who is actually (...for now...) married to George Harrison of the Beatles, 2 yrs after George invited Clapton to play on the White Album, while they toured together with Bonnie & Delaney to avoid any drama. So this album is the catalyst of Clayton’s quarter life crisis. He does an incendiary cover Hendrix’s “Little Wing,” which he may have envied after being outplayed during a live Cream jam session in London (Beatles in attendance) but later revered until he died after Clapton recorded these Bell Bottom Blues. Clear? Perfect! Just think of an English Bachelor TV show with the world’s greatest rock stars. Unfortunately Clapton traded the Dominos in for piles of coke so this is their sole album, .... and boy-oh is it good! There is a little bit of pop. A little bit of blues and a whole lot of Clapton! I honestly have always liked his one-off albums better than his solo work, but without disrespect to his solo work.

Way back in the day I actually owned this on cassette, which translates into I copied this onto a cassette from my brother. There was something ethereal about this album that always caught me at the time. It was like that magazine you weren’t supposed to have hidden under your bed or taking a sip of someone’s drink when they weren’t paying attention. The song that grabbed me was Everybody Knows which is still a fantastic song. I also love the song I’m Your Man because of its slow waltz like quality. But really you can’t go wrong with most of this album. His voice is like velvet sheets on a sultry night. I do think this is his best album he did.

I was not expecting to like this album as much as I did. Songhoy Blues did a beautiful job incorporating African traditionalism and deep American southern blues. You could play this anywhere in America with English lyrics and people would never know the difference. Soubour, the opening song, immediately grabs you and pulls you in The song Nick also could’ve been straight outta the Mississippi Delta, while songs like Al Hassidi Terei pulled in more of an authentic African feel. If I had a complaint it’s that autocorrect can’t figure out how to spell these song names and it’s pissing me off. I can definitely say this is one of those 1001 Must Listen to albums, and I am grateful I had the chance.

Arthur was a fun listen, but I don’t know if I’d actually come back to look for it again. It was kind of a psychedelic meander through the English subconscious. I have to admit I have never heard and ode to Australia quite like this one. There’s a section in Mr. Churchill Says they fell into the pocket and just kind of grooved. Overall, I liked this album and I can see the pop culture influence for artist and years to come. I know Oingo Boingo are considered to be the Fathers of Alt-Rock, but I think that title belongs to the Kinks.

There is so much to love about Sarah Vaughan‘s album “at Mr. Kelly’s.” First off I love that the producer left the introduction explaining to everyone they were going to be involved with the show. I also love that Willow Wept for Me included a vamp that not even Miss Vaughan knew one was going to end and she just kept rolling with it, making it into a joke. This entire album was made in such a way where it felt like you were sitting in the club with her, listening to her beautiful voice and experiencing her amazing talent first hand. In modern day, when even live albums are re-dubbed and reproducing in studios and studio albums are overproduced with ProTools making it accessible for even the worst singer to sound good, I appreciated the raw authenticity of this album. Sarah Vaugn is an American classic.

I was surprised to see Stereo MCs on the list! I had a cassingle of this in high school, but never actually listened to any other songs aside from Connected, which I thought was great. In truth, I probably wouldn’t have appreciated this in high school. College, on the other hand, I would really dug this album. I found that some of my favorite tracks were closer to the end, like Chicken Shake, which had a really cool groove to it and Playing with Fire. However, I’ve been hard-pressed to ever find a song called The End that I didn’t like, this one included. It only took me a couple of decades-we don’t need to talk about that-to listen to the rest of the album, but I’m glad I did.

I think many of our generation was first introduced to cream when John Bender was singing Sunshine of Your Love while in the morning detention. My parents loved cream and I remember staring at this album. Trying to figure out what it was. I was seeing. The supergroup of Jack, Bruce, Ginger, Baker, and Eric Clapton Was a fantastic selection musicians dedicated to the craft. In truth, I’ve understood they hated each other, which just made the music better for us. Though not every song on here is a hit like you’ve seen with other Cream’s albums. There’s some great musical work, especially Clapton‘s guitar work on Tales of Brave Ulysses and throughout you get an opportunity to hear Ginger Baker’s amazing jazz-rock fusion truly making him one of the best drummers., And you can’t forget Jack Bruce‘s bass work and smooth vocals on Strange Brew. Overall, this album is just good and definitely a classic.

I am not sure if this is a relic of the 1990s or a testament to the power of ‘90s punk. The first songs I learned when I joined a high school garage band was “Come Out and Play” and “Self Esteem” so naturally they will always have a special place in my memory. We registered to this over dinner and as Bad Habit rolled the entire family looked to me with shock. I forgot about the spoken word sections before Genocide and throughout. Gotta Get Way is a great song too. This album is definitely harder hitting than Smashmouth or Green Day’s catalog. It was a good flashback overall.

My wife and I have had many an argument about Janis Joplin: I, growing up with her, seeing her contribution value in music; her reeling at the screech of her voice. I remember staring at this album frequently as a kid as it was one of my mom’s favorites. It was the first time I remember seeing such pronounced boobs in comic strip form, too (think what you may, I was six and it was the ‘80s). Art aside, Janis and Co. produced an album that was SanFran blues-jammy jam rock like few others (maybe SanFran compatriots Jefferson Airplane was a close contemporary). Piece of My Heart is a classic rock favorite and a familiar roar around my house too. If you really want to know Janis, move to Turtle Blues, which shows her sloppy, soulful blues, a talent than can’t be taught (see Johnny Lang vs Muddy Waters). The entire Big Brother Company shines on this album, though Janis is promoted as a face/voice. Oh, Sweet Mary contrasts Janis and Sam Andrew’s vocals (his marble-smoothness vs her gritty howl), while adding Peter Albin’s somewhat erratic guitar against Dave Gertz’s precision drumming. Then there is the all-out assault of Ball of Chain, that in any way deconstructed would be a mess. Some say (mom included) that Janis’ Pearl was better, but let’s also remember that Kris Kristofferson wrote her biggest hits on that album. This collaborative album was revolutionary.

I have no context to say is this was good or bad. The guitar work was good but I didn’t find it exceptional, and lyrically it all sounded like Portuguese to me, though the nod to MJ and the Beatles seemed misplaced and awkward. Respect to his efforts but I probably will not be looking for this one and defer my opinion to others who know better.

Desert Blues! Who would’a thunk it?! I really enjoyed this album for many reasons. First, I appreciated that it was not a straight Delta-Style, but blended American blues with local tribal and Spanish Flamenco, best heard on the song Sabu Yerkoy. The song Savane was almost psychedelic in its hypnotic repetition. Meanwhile songs like Bonde retained more of the African feel. It was interesting that ‘70-80s blues man Ry Cooder was so prominent on this album, but doing so in such a way that his contribution didn’t overshadow Ali Farka. I could listen to this one again and again.

Benjamin Curtis of Secret Machines had a second space rock band on 2008 called School of Seven Bells, which this album songs a lot like (this could have been their album). I didn’t dislike this album but I didn’t find anything unique or original. Key songs for me were Loops in the Secret Society and the Lightning Back. The whole album is pretty good, just no new ground broken here.

I recently read a book called SellOut by Dan Ozzi, which included the beginnings of Green Day’s punk career. What I didn’t realize was this album, their first with a corporate contribution, came with a huge backlash from their fans resulting in them being barred from playing the clubs they started in due to “Selling out.” Sympathy, but not a lot. They did okay. I always respected that while other groups were strongly ‘fight the system’ all the time, GD made punk fun. Four songs on here are radio classics (Longview; Come Around; Basket case my favorite; Paradise), and others easily could be, including the 1950s-esque Pulling Teeth which makes me wonder how much influence they gave to Weezer, and the straight-up ass-kicker In the End. This is punk with a purpose of being purposeless, and I after a few decades it still holds up! Give me a big pile of Dookie please!

#1 crush was the first song I heard on the Romeo and Juliet Soundtrack. I listened to that song endlessly, and it still holds up. I always appreciated Garbage, but I recognize now that my appreciation requires context. In the 1990’s there was a flood of women responding to the Grunge movement with a spanning the feminist spectrum: Tori Amos, Morrisette, Sarah McLachlin; Melissa Ethridge; Sheryl Crow; Shania Twain; Avril Lavigne, et al. Then Shirley Manson came on the scene with something different. It wasn’t Singer-Songwriter; it wasn’t Grunge; it wasn’t rock or pop. The entire band-Butch Vig, Duke Erickson, Steve Marker and Eric Avery-offered a blend of genres that defined our generation in their own way. Songs like I’m Only Happy When it Rains, and Stupid Girl took to the radio, while songs like Queer and Alien Sex Fiend were common at house parties. There is a reason most of these guys went on to produce or play on such amazing albums. I think this is a great album but I would have to see if that is a product of my age or universal across generations. I feel like being objective requires me to score lower than I normally would due to that feeling.

I don’t know what I thought about this album. Here are my thoughts: * I first thought I was listening to the James Bond Theme played by the Arctic Monkeys. * there was a lot of Tommy James and Shondels influence from the late 1960s, which paired with the keyboard orchestra samples made it feel A LOT older than 2008. * the album itself had some strong points like Calm Like You and My Mistakes, with a lot of listenable though less memorable tracks along the way * some of the tracks felt like they disappeared into the background, which have just been my mood * it’s really British … I’m going to listen again on a different day to see if it was me or the album but overall it was “meh” for me.

I don’t know if they were my “New Favorite Band”, but I did enjoy this album. If the Kinks would have been a Millennial band, they would be the Hives. I appreciated the rawness of their sound that emotionally led you somewhere between a strong head bop and the urge to throw your coworkers into a mosh pit in a staff meeting. Key songs for me were Outsmarted and I really liked the break on Madman, though the most popular song on this Here We Go Again can’t be discounted. If there was a fault it’s that the album is so short. I can and will be listening to this again!

I had preciously known Hanoi Rocks from the unfortunate tragedy of drummer Razzle’s death in Vince Neil’s car in 1984. After listening to this album I am okay with that knowledge alone. This wasn’t necessarily a bad album but it was definitely a product of the time. Most the album I was trying to classify it: was it a hair metal or pop/New Wave band? I still can’t get a bead on their identify. There are a few fun tracks, like Until I Get You, and Sailing Down the Tears. There is no regret listening to this album but I’m not going to be making a playlist from it.

I read a while ago that Janelle Monae refers to herself as a’futurist’. This album presents a future of music that heavily relies on reflections of the past, which I respect. It was interesting to hear the blend of classical (Suite II) blended with modern speed rap/dance (Dance or Die was an impressive song), while Cold War felt like a Donna Summers flashback, and Sir Greendown felt like a Nico homage. Favorite song was the collaboration with Big Boi Tightrope which reminded me how good OutCast was, and how good Ms. Monae is. The more I write about this album the more I realize how much I like it. I didn’t even hate looking at the cover repeated…

There are so many great songs on here. This album was one of my mom’s favorites so it was spin often, though not this extended version (at least that I remember). This version of Voodoo Chile is bluesier than I recall from the later CD mixes. I also don’t remember it being live. (No complaints BTW). Watchtower was one of the first songs I remember ‘hearing’ Hendrix and I have loved that song since, but the swishing guitar work that starts Voodoo Child, and then drops into one of the hardest riffs in classic rock is still mindblowingly powerful. I really enjoyed 1983 this listen and am not sure I ever heard that song. This album is a classic but I’m not as excited as Experience from Hendrix. Is it a Four? nah. We all know…

I didn’t think the ‘90s had that much of a sound about it really did. This album was a product of that sound. To be honest, it was okay, and I found myself liking it better about 1/2 way in. Much of it was reflective of the feminine anthems that erupted during the time, which I respected and agreed with but didn’t promote in my own listening tastes at the time. There are some key tracks in her that I would listen to again, such as the piano ballad Canary which was lyrically and musically masterful; and the uptempo Never Said. People loved Liz Phair due to her unabashed honesty, and it reflects through this album.

I WANTED to dislike this album but that proved difficult. It was weird and weirdly good with a level of unpredictability. What I like about it most was the cohesive contributions of all the musicians that surrounded Castillo voice rather than backing it. Long Honeymoon was a weird French cafe inspired love song, followed by the screaming roar of Man Out of Time, and later the horn-laden …And In Every Home. The Loved Ones could have been an Elton John song. Key song for me was Little Savage, which I think I liked because he kept in the pocket and the harmonies added some depth to his voice, which I am always thought was a little nasally and drunken. I am not committing this to vinyl, but (…and this is a big step for me…) I could and probably will listen to this one again. Wow! That kinda’ hurt to admit….

If Simon and Garfunkel were stoners, they would be CSN. Let me restate, if Simon and Garfunkel were hard core stoners, they would be CSN. This album was a drug: it started strong with Judy Blue Eyes, which was the bong rip; Marrakesh Express was the high kick; Wooden Ships through Helpless Hoping was the ride; and Long Time Gone was when the munchies kick in when you discover the pizza was delivered an hour ago. For me, their harmonies have always been detrimentally lacking in needed variation, and, though admirable, gets monotonous after a while. Plus, I know Stephen Stills can rock a guitar better than this album shows. This feels like a product of the time and doesn’t translate to modern times, at least for me. If I was completely blazed, this would be the BEST…album…ever! But I’m not. Pity.

Growing up in the 80s it was inevitable and impossible to not hear Van Halen as part of daily life. There’s a lot of speculation on who was better: David Lee Roth or Sammy Hagar. In truth, both were great in their own way. This album showcases the raw energy and talent of David Lee Roth in his prime. He may not have been the best singer, but he was definitely the better showman. What made this album great at the time was were bands, like Rainbow, Black Sabbath, and even Journey, which were each going on their own path towards darker or more serious, Van Halen produced a juvenile rock that was backed by extreme talent of its four members. Eruptions ear-splitting technique revolutionized guitar, while songs like You Really Got Me Going and Running with the Devil were coercive works of mastery. One of my favorite songs this listen was Ice Cream Man, partially because the double entrendre, and its bluesy-rock roots. This album still translate to fresh rock and energy.

This album was so monumental at the time as it was part gangster rap and part shock rap. Listening now it kind of encapsulates every bad stereotype. From a musicality perspective it’s still solid as the day it heard to back then. However, in the post-BLM/#Metoo America it feels …different. The tag team of Dre and Snoop is magic and I always wondered why they didn’t continue full time together. Dre proved his production master here. To say I have a favorite song is challenge because the content is more geared for the 16yo me, and even then wasn’t exactly applicable even then despite my attempts. That said, Bitches Aint’ Shit is still funny, Lyrical Gangbang is still hard hitting, Rat-Tat-Tat-Tat still is an eye opening look at their world, and Nuthin’ But A G-Thang is hard not to sing along with. This score is partially critique, partial genre influence and partially personal reflection. If it was produced today I probably wouldn’t score it this high.

Odelay is what happens when you give a musomaniac genius an opportunity to build his perfect album. Beck threw everything he loved into this album. Why wouldn’t you add Middle Eastern modes into Derelict? Was Novocane originally a Beastie Boys song? All songs like New Pollution should start like the Jetsons and mold immediately into a 1970s Curtis Mayfield groove. My favorite songs were Jackass, which was almost autobiographical about my late 20s, and Sissyback, which is just a whistle blowing country-funk mashup that I am still trying to decode, and, of course, Where It’s At. There were no albums like this. There are no albums like this, even by Beck. This is his and our opus.

I hadn’t heard of Nanci Griffith but I have heard her through older artists and newer ones. First thought: she sounds like Dolly Parton joined ABBA. But as I listened further, I heard Miranda Lambert in songs like More Than a Whisper and The Wings & the Wheel; Reba McEntire on St. Olav’s; Cheryl Wright in Looking for the Time; and others. I actually enjoyed this album, especially the latter mentioned and Fly By Night. I could listen to this again.

I have found that women with the last name Hynde (or any spelling variation thereof) tend to be some pretty bad ass women. Chrissie Hynde is no exception! This album beautifully bridges the gap between punk and new wave. Porcelain is really fun bass and guitar-driven jam. Space Invader was a song I had never heard with a really cool rock-reggae groove. But the question always remains: did Brass in the Pocket show the world just how “special” Scarlett Johansson was in the movie Lost in Translation or did Scarlett Johansson show just how special Chrissie Hynde was in the song? The world may never know….

I grew with a dislike of Stevie in elementary school because of songs like You Are the Sunshine of my Loathing and My Cherie Amor. As I got older, I found my love for Stevie, and realized I just didn’t like this album of Stevie’s. Decades later: no change. Superstition is a stellar classic and drives this entire album. Maybe You Baby is an interesting song that builds but never quite finds completion, like a freshman year make out session. Big Brother is a tolerable listen though you can move the cursor anywhere in the song and it doesn’t change the sound. I Believe, for me, is the only slow song that resonates, I think partially because it pulls in some gospel roots and Stevie takes us to his Love Church. For me, this album comes down to one great song and a stack full of either background or passable tracks. Sorry Stevie. I still love you. 😘

I had always heard of Stone Roses in passing, usually by music snobs who liked to name drop. I get it. The first time I listened to this album was while passively working. It had a great feel. By the third time I still don’t feel like I got it all and want to go back again. It reminds me of a musical bridge between the Moody Blues and the Beta Band. Were Stone Roses the original Indie-Kings? Key tracks for me are Made of Stone and Don’t Stop, though shout out to I Am the Resurrection. I’m coming back here again, so hopefully I can name drop in the future 😄 Does that make me a musical snob or a connoisseur? I am going with the latter, of course

Sinead O’Connor was such a controversial figure back in the 1990s. When she ripped the picture of the pope live on the air, the world gasped. Today, most people, especially younger, have no idea what SNL or the Pope is. Now that the controversy is gone, it’s easy to look at her music with a different perspective. I respect the way that she was able to combine traditional Irish ballads with pop music. Her voice was both lilting and powerful simultaneously like on the song Nothing Compares to you, which we couldn’t get off the radio even if you wanted to. I Do Not Want is angelic. Black. It’s on Mopeds is soulful. But I think my favorite song is I Am Stretched on Your Grave, which is lyrically powerful and catchy as hell. There was a lot of torment and talent in Sinead. I hope she has now found peace.

No one has a voice like Billie: raspy but elegant; melodic but personal. She lived a hard life and the struggle comes through in her music. I can’t say that I had a favorite song on this album, but I respected the album as a collective unit. This is not dinner-with-the-fam or play-at-a-party kinda album. Instead, it’s more of a headphones in a dark room with a glass of Merlot or whiskey and let the day melt away album. It’s a classic.

British post-punk is weird. It felt like ‘50s clean guitar phenom Dick Dale went on a Punk bender this was the hangover-next-morning performance. I wanted to dislike it, yet, I found myself vibing it. Songs like What You Need and Spoilt Victorian Child were repetitive, but in a good way. I kept getting flashbacks of watching Dr. Who on PBS as a kid when LA came on (maybe it was played on an episode). The female vocals on Vixon were not unwelcome, and it reminded me of BJM. Couldn’t Get Ahead reminded me of the Zombie rock featured on Harry Potter: Goblet of Fire. Favorite track was the vibey LA. I don’t know how often I would look for this one but I could definitely take this trip again!

Jeff Buckley has been referred to as the “Apex of Grunge”. I think that is debatable but I will say he was influential and possibly the greatest 1-Hit Wonder of all time, and it was a cover! His interpretation of Leonard Cohen’s Hallelujah is haunting and beautiful. Every time I hear the final long note, it gets me. This album was actually a pleasure to re-listen to, as I found so many new songs to love, key favorites including Dream Brother and Grace. It’s interesting that so much of his album is singer-songwriter, and then the rock is mixed it. There was no doubt about his talent, and it’s a shame that he wasn’t able to offer more. I am grateful for this one.

Man, I was nine years old sitting outside my sister’s room on cleaning day again listening to this album again. I always wonder how it took her two hours to clean a 8x10 room with her door closed, but I realize it was probably this album. Simon LeBon and John Taylor were household names growing up, and reasonably so. Double-D had a style that was New Wave but had an rock edge. I think part of it was John Taylor’s aggressive walking bass line and Roger Taylor’s not-drum machine that made the difference. There are so many good songs here: Rio (a fav), Hungry (a fav), and Save A Prayer. This time, I really appreciated New Religion, with Nick Rhodes (not a Taylor) odd synth opener and driving guitar (Andy Taylor) and bass (…again, a Taylor), I don’t know if I can say this album defines the time because their music was unlike anyone else in the genre. I can say this defines MY time, and I’m thankful for it!

What the hell did I just listen to?!?? It started casually (I wasn’t paying that close attention) and then Girlfriend in a Coma awoke me. Then Unhappy Birthday left me confused and laughing, and I had to start the whole album over and focus on the lyrics. If Manson, Gacy, Dommer and Bundy wrote an album, it would be this one. I was caught between laughing and horrified! Paint a Vulgar Picture, Death’s Elbow; Death of a Disco Star: wow! Morrissey was Marilyn Manson and ICP before it was cool! I’m coming back here!

“You know I have the world up my ass!” What else can you say? By eating a high fiber diet and drinking king lots of water that could help eliminate that level of constipation. Kidding aside, this was a solid American punk album right at the fall of the British Punk Movements short life. It carried the flag after the Pistols were gone. It’s interesting listening to the musicality which is better, and comparing it to the lyrics, which focus on more American issues of gun violence and opulence. It says a lot about our great country. This may be the shortest album of the day so far at 15 min. You can hear a lot of ‘90s punk influence here, and I think it’s safe to say they led the hardcore movement with DRI, MOD and others. Key song: Operation, which is kind of a profound look at America’s obsession with quick fixes. This is not going to be in a constant rotation but it’s definitely deserving of the list.

Aladdin Sane is Bowie at his most confident. After the success of Ziggy, Aladdin was one of his “rockiest” albums, more guitar/bass driven, less experimental. It’s also his most memorable cover. I don’t think there is a bad song on here. Key tracks for me is the Elton John-esque Let’s Spend the Night Together, and Prettiest Star, though Jean Genie was a favorite too. I was kind of bummer I couldn’t go home and listen to this on vinyl. Damn work!

When the Black Keys dropped the album, EVERYONE was talking about it, and I (confession time) never listened to it. Well, a decade-and-a-half later and I have remedied that error. It’s …okay. Kidding. It’s worth the hype, even late. I had heard a few of these songs on the radio, but now I realize they are the frosting on a really good cake. What I appreciated most is how Americana this album: heavy blues roots without appropriating it (Black Mud); SanFran Psychedelia without rambling solos (She’s Long Gone); pop rock without sounding like Yatch Rock (Howlin’ For You); soul without the JB’s excess (Sinister Kid); even The Only One has a ting of Blaxpoloitstion without sounding it. But I have to say that favorite track was the meandering blues ballad Too Afraid to Love You! There was something transcendental in that songs. I know they have a new album coming out but this summer I think I need to explore the back catalog a bit! I dug this…even late.

Green Onions was the birth of not o my Stax Records but the entire Soul Genre, and the Blues Brothers! With the guitar work of Steve Cropper, Al Jackson on drums, keys by the famous Booker T. Jones and bass work by a personal favorite Donald Duck Dunn, these four guys made history! So…the rest of the album…. This is one of those albums that’s hard to judge because it has significant historical roots, great musicians in their prime (their early 20s), and a record company in the rise, but the album as a whole is kind of forgettable. There are some key tracks such as the bluesy Comin’ Home Baby and stranger on the Shore, which show their Memphis combo of country, blues and gospel roots which would define Soul music in the mid-to-late ‘60s. However, this is not exactly a throw-on-after-work album, unless you are a mortician or a baseball organ player. There is a reason Green Onions was a single-45. I may be rating this too high.

Somewhere between early ‘80s Elvis Castillo and early 2000s Sting is this album. Unfortunately neither kept my attention, nor does this. Songs like Horsin’ Around felt like lounge act that got kicked out of Vegas and some fairy godmother experimented to see if they could make them beautiful. Instead, we discovered that Cinderella was still a lounge act. Someone loves this album, and I am grateful for them, because I will forget about this album in….done!

A show I recently watched (We are Ladyparts) had a character infatuated with Don McLean. It got me thinking I had never listened to anything other than American Pie. My dad used to regale me in stories about who each character was represented by in that song. I have hated and admired Mr.McLean for never saying, hence keeping th legend alive. This album was exceptional and I sorry I never made it beyond the title track. It feels very singer-song writer, like a perfect summer day. Additional key songs include the ballad Vincent that was both sad and graceful, and the romantic Winterwood. The title track is a must listen for music history lovers, but the entire album holds up.

This album is a rollercoaster into the mind of a genius jazz man but it is not for the week of heart. Not only does it feature some great bass work (Mingus was a bassist after all), but all the musicians involved give performances that leave you wondering what’s next. Track-B is the best for me, as you can envision a hallucination-like pasa doble style Argentinian dance. For a jazz aficionado this could be the greatest album ever. For us low-level appreciators, I dug this but it’s not date night music and I am pretty sure if I played this at work someone would have a psychotic break. But wow!

This album was a fun look at the historical roots of the Clash in the height of the Punk Origination Movement. A lot of it sounded like the punk you would expect, and then Police & Thieves drops. The beats change, the tempo slows and the Clash as we know them begin. Honestly, I don’t have a lot to say on this album. I’d listen again. It was neither overly memorable nor immediately forgettable. It sits right in a good pocket.

I didn’t know a single song of this album, but I enjoyed them all! REM became such a huge influence in the late 80s and early 1990s, it was interesting going back to the early roots and seeing their evolution. I vaguely remember Radio Free Europe, but aside from that I don’t know anything else on here. Key songs were Sitting Still and 9-9, mostly because of Mike Mills great bass work …and it’s a great song. Where REM was taking on the working later albums, this one feels like REM having fun. I am coming back here again

This album had a cool vibe, like being seduced in a martini bar by women of nefarious intent. It’s an interesting blend of Madonna’s Ray of Light (which this album pre-dated by five years) and Garbage (which this album predated by two years). Key tracks for me were It’s Fire and Mysterons. If there was a complaint, it’s that the album gets tonally one-note after a while. It’s definitely listenable when in the right mood.

At the end of every academic year Alice Cooper blares across the halls over countless schools in America as the doors are kicked open allowing the ultimate liberation from painful homework, constant attitude and unreasonable expectations….and that’s just what the teachers feel! It’s easy to forget that Alice Cooper was not only the first “Shock Rocker” but was there in the beginning of hard rock/metal. Key songs were, of course, Schools Out, but also Glitter Cats v The Jets, and My Stars. I love the story this entire album tells. This is a classic that should get more recognition as an album rather than a song.

Admission: I might be one of the few metalheads who never particularly cared for SOAD. I always found their musical assault too consistently in-your-face, with the vocal variations ranging from Serj Tankian’s faux-operatic alto to squealing (“vocal whistle”), which is somewhat grating on the ears. It annoys me when Arianna and Mariah do it too, but at least SOAD has a metal backing. Their musicality and use of polyrhythms was impressive but wasn’t abnormal for the time when placed against mathematically meticulous bands like Meshuggah or Tool, or cross genre artists like Mudvayne (NuMetal, Groove metal & Jazz). My favorite song on this album was the downtempo Spiders as it shows the most musical temperance. It’s easy to crank to “11” and go full on. It’s harder to self edit. I understand why people love them, with their progy-post-punk-metal-up-your-ass aesthetic. It’s just not my cauldron of metal….

This album was riding high on the success of Nevermind, an iconic cover design, and the slow and steady decline of Cobain’s mental health. Kurt’s erratic behavior paired with public suicidal ideations was creating friction within the band. Relistening to this album in retrospection makes those little nuances become increasingly more evident. That’s not to say that there aren’t some good songs on here: Heart-Shaped Box; Rape Me; Dumb, and my favorite, All Apologies. But the other songs on there tend to lead toward the forgettable ans they seem like leftovers from Bleach and Nevermind. I wonder: if Cobain won’t have died, would have this been the last Nirvana album anyway?

When I lived alone, some nights I would come home after the clubs and just sit at the piano and train-of-thought play until I fell asleep. This album reminds me of that, though obviously much better. January 24th-Part 1 was my favorite, especially the about 3:45 in when he moved from very traditional to blues modes reminiscent of Charles Brown or Ray Charles. His flow is superb. I don’t listen to a lot of straight piano instrumentals so I do my know how to judge it. But I do know I enjoyed it. In the end, that’s really all that matters.

Marvin Gaye was such a soulful singer. I can only imagine how this album, especially its title track resonated, at the time. I think it resonates with me today. Maybe I shouldn’t have (or should have) been reading the news while listening to this. Some of the synth orchestra pieces still come off as dated, but it still works when considering the context. Mercy Me is right there in the pocket of the times, but I have to say that the groove of Right On was a key track today. That song is due for a Renaissance. This might be his most politically motivated album, but I respect the call for hope and togetherness it provides. This is a classic!

The New York Dolls had such a huge influence on so many artists in the 1970s and 80s, ranging from Billy Idol to Anthrax. I have read so many books about bands, including the Beastie Boys, who remember the influence in New York Dolls throughout the East Coast and Americana. They were punk before punk and metal before metal. This 1973 debut album is a great example of what they were doing. In many ways they developed the entire glam genre with David Bowie, and even Bowie claims them to be an influence. Looking for a Kiss is just a fun song, Trash is a bop. Matter of fact, I don’t know if every song is Grammy winning, but every song left me bobbing. I could listen to this again and again.

“All of a sudden I found myself in love with the world, so there was only one thing I could do: dingalanglong my dangalinglong.” How could this not be a classic!? In truth, this is a classic, just not for everyone. I loved this album in high school despite not really being an industrial metal guy. I always wondered if this is musical heroin feels like. Jesus Built My Hotrod, NWO and Just One Fix are ass kicking anthems filled with riffing and mayhem, but the absolute all time favorite track on here is the transcendent Scarecrow. If I was to count how many times I have listened to that song I would need a theatre more hands and toes. I even used this song when I ran the Bolder Boulder because of its meditative qualities. This was Ministry’s most cohesive and commercial album, and definitely a classic the metal genre. Whether it is a Top 1001, you need to ask someone less biased…

What happens when you get four of the best studio musicians in the same room together? Magic! The problem if this is not everyone’s magic. There is no dispute that King Crimson were the kings of Prog-Rock. Each one of them were masters of their instruments, and you can heard their influence in everyone from Genesis(early and late) through Tool (whom Danny Carey even played in their tribute last year). But there no passive listening here: you are all in or you have no idea what is going on. Key songs for me were The Court of the Crimson King, and Epitaph, partially because the bass clarinet inclusion which few bands can pull off in rock. This is definitely 1001 Level and a classic. It should come with a warning label that you will be going on a journey and you may not be returning the same or at all….

Well…this was…very…German. I think I heard this album on a variety of Sci-Fi films in the early ‘80s, like Tron and Flash Gordon. This is one of those revolutionary ‘history’ albums as I can hear their influence in so much Synth pop from New Wave and the birth of EDM as we know it today. Just listening to Space Lab I could Oakenfold, Enigma and Depeche Mode. I don’t know if this is a modern go to, but I respect the roots.

I hadn’t heard this album until after college when I picked up the CD at a used store. I had always liked Creep, but never explored much further. If I had would have my musical trajectory changed? Radiohead can easily defined as two bands (maybe even three): the Bends and before; the OK Computer and after; and maybe A Moon Shaped Pool forward. But his album was the height of the era and easily one of the best albums of the post-Grunge Alt movement. There are so many great songs in here: Planet Latex; The Bends; Fake Plastic Trees; Street Spirit; etc.The entire album is so cohesive. Listening in retrospect, there is an obvious movement into Radiohead 2.0, which makes me think it was either more planned or inevitable than previously known. This is definitely on my list of Must Listens.

Common is one of the most important rappers of the 2000s. Unfortunately he doesn’t get the play he should. Unlike many of this compatriots in the rap game, Common speaks of this world around him much in the same way as Golden Era rappers like Chuck D and Queen Latifah did. I liked his incorporation of jazz and funk throughout which gave his music street credit. Key songs for me were The Light and Doonit, which back-to-back were powerful. The album did begin feeling a bit long after a while, but it was definitely highly listenable.

There is a Pink Floyd for every age. It tends for follow this trend: high school age-Dark Side; college-The Wall; mature age-Wish…; and when you get old and senile: Ummagumma, because that shit don’t make sense anyway. I think what resonates in the Wall of the combination of self-questioning, feelings of hopeless, and the feelings of rage against the system combined. Few arts (if any) have ever been able to pull from such a feat, especially with the dynamic flow of songs, odd time signatures, and David Gilmore’s legendary guitar tone and licks. This album is practically one of Erickson’s Stages of Development, right between Industry and Identity. Key tracks: well, all of them. I love listening to this entire album at once, and potentially repeatedly. HOWEVER, Mother, Comfortably Numb, Another Brick and Goodbye Cruel World, are favorite parts. This album is an all—time must for anyone who appreciates music or is forced to listen to it by their over enthusiastic fathers.

This is my favorite Beatles album. It was a masterful combination of the psychedelic vibe (sitar included) of the later albums with the fun/50s vibe of the earlier albums. Without question In My Life is my favorite track: I did have it my wedding after all. The older I have gotten the more that track holds relevance, which I always wonder if John and Paul realized the philosophical importance in their mid-20s. I think at some point in our lives we have all felt like Nowhere Man, and If I Needed Someone is a perfect musical and vocal harmony. Drive My Car is friggen great. The only questionable song is Run For Your Life, which feels somewhere between stalker and serial killer, but it is a bop, just an uncomfortable one.

Patty Smith(aka, Patti Sm-eye-th) always seemed like the female version of Lou Reed, though maybe not as much heroin and narcissism. Her swashbuckling voice never really appealed to me, though I do respect her music. You can hear a resurgence of his influence in ‘90s bands like Hole and Alanis Morrisette. Key places where you hear the Reed comparison are songs like Birdland, where you could interchange the two singers without changing the feel of the song. Speaking of both, one of my first exposures to Patti and Lou was in Billy Idol’s song Heroin where he lyrically blended Reed’s VU song Heroin and Smith’s Gloria: In Excelsis Dio, which she took from Van Morrison’s Them album. Speaking of which, Free Money lyrically reminded me of Janis Joplin’s Mercedes Benz. Jim Carey once quipped, “imitation is the purest form of plagiarism!” Hmmm…. Overall, this album is highly influential and listenable, but I probably won’t to be honest.

What.the.serious.fuck.?. …this is why people hate Indie music… Ps: I did make it through 16 songs, but 69? Three discs? …of this? no.

I actually enjoyed quite a bit of this. The music was good, almost groove rock. It reminded me of Black Rebel Motorcycle Club or a more assertive BJM. The vocal variation were a bit odd, some of it sounding like Lenny from Motörhead, and others like The Cure’s Robert Smith buried in the background. Key songs: SO36, Primitive and Requiem. This one is getting listened to again!

When I heard the first song, Urban Theme, it reminded me of the jazzy bit before Mix Master Mike section on the Beastie Boys Check Your Head. Sumethin’ Sumethin’ was a vibe with some great bass work. The Dancewitme was a bit of Nile Rodger’s disco funk with some D'Angelo swagger. Suitelady was sexy good. I don’t know if I would look for this outside of throwing it on at a swank party (yep, every dreamable weekend) because it reminds me I’ve been married for a long time and spend my evenings alone writing music reviews rather than living this soundtrack, but it was pretty damn smooth and digable.

It’s hard to argue against the generational influence of Dylan. Of this albums, this one is definitely a classic. However, his trademarked nasally voice and his droning harmonica are admittedly not my favorite. I blame John Popper and Howlin’ Wolf for spoiling me. There are some fun songs on here such as Absolutely Sweet Marie and the bluesy Stuck Inside of Mobile with the Memphis Blues Again (a very Fallout Boy title BTW). Then, of course, is Rainy Day Woman #12 &36, ‘cause “Everyone must get stoned!” This album is difficult for me because the aforementioned complaints, but it has really good songs. Throw in the influence and I am going to rate it higher than I normally would.

Again, I grew up with so many of these songs in the background as they were constant radio play: Drop Dead Legs; Panama; Jump (which may have been one of the first videos I remember); and who wasn’t Hot for Teacher, aka, Mrs Krittenbrink. Two observations remain. First, in the annals of drummers I don’t know of Alex VH is given enough credit. After re-listening to Hot for Teacher with a critics ear his drumming is exception and that beat is intricate. Second, I really enjoyed the deep cuts of Jimmy and House of Pain, both of which show a strong focus on their individual musical talents. Overall, this album is a classic for its influence, musicality and just kicking ass!

There is no way to describe B-52s other than weird, but pleasantly weird! They apparently drank from the same Alt-Rock, post-punk water as Oingo Boingo in 1979. I appreciate that they were the leaders of a strange new musical world. Rock Lobster is just strange but incredibly catchy. My favorite song of the day was Hero Worship. Katie Pierce and Cindy Wilson’s vocals play off each other in a really cool way.

There is a lot to unpack in Let It Bleed. Let’s address the elephant in the room: was Let It Bleed what Jagger sang to Bowie after their 1985 duet? The world may never know. Whenever people talk about the Stones, it is often said that they were like the Beatles but dirtier. I give you evidence: Let It Bleed. There are some great songs on this experimental album including Gimme Shelter (one of their best), Country Honk (truth in advertising); and midnight Rambler, which I always loved how that songs keeps on building into itself. There is also some interesting blues, country and honky tonk. The pièce de résistance is, of course, Can’t Always Get What you Want, which is one of their best songs ever. I once attended an economics seminar the professor claimed that because of Jagger’s study of economics (which is true) that the song was about aggregate opportunity cost in the post Friedmanomic era (pretty sure that is crap, but was a good story). Either way, what a great ending to one of the best pieces of Americana ever recorded by a solidly English band.

There is a unique quality about Ryan Adams because his music is good, but it’s good because it is a music lovers homage to the music he loved. New York, New York has a feeling like Kieth Urban; Firecracker feels like Bob Dylan; Answering Bell feels like James Taylor; La Cienga my daughter asked if it was CCR; and The Rescue Blues feels mid-‘60s Mick Jagger and the Rolling Stones. All of these songs are solid. I don’t know if I can say I was overwhelmed by any of them, but I enjoyed all of them. This will be a good album for beer and corn hole in the backyard this summer. Side note: this was a pleasant change of pace to add a little rockabilly/country into the mix. It clears the pallet.

I remember the first time I heard Tommy I was expecting Baba O’Riley or My Generation. I was confused because I got neither. Though there is some debate about who wrote the first Rock Opera. Tommy was in the Top Five originates, and the first successful one. Period. It is a concept album like no other, which makes to hard to find singles when taken out of context. It really was the Who proving their musical chops (hear the break about 3 min I to Amazing Journey, which it was). Knowing the size of those four personalities I am surprised this album exists at all. Once you get to Pinball Wizard there is a powerful climax to the album. But some other songs I appreciated more were Go to The Mirror! and Tommy, Can You Hear Me! Overall, this was a masterpiece! However, it does run into the problem of accessibility.

I walked into a Ft. Collin’s house party filled with really cool people back in, oh, it doesn’t really matter when, but after a few hugs and hellos to people I knew and just met Dollars and Cents came on, and at that moment nothing else really mattered. I was entranced by this oddity of sounds and experience. When the lady of the house asked to change the album, I found myself jonesing for more, more ecstasy, more escape, more unknown. And the next ten minutes until I could get the hosts apt attention I pined to know who this was, and then this CD hit my hands: Radiohead. Wait, the same guys that did Creep?! This was my reintroduction to them. Radiohead became known for their ambience and emotion, which could easily make this their best album. It’s like the White Album died of a heroin overdose and found itself contemplating its existence. Packt Like Sardines sets the mood and the album stays in that pocket through the Sgt. Peppery Living In a Glass House. Spinning Plates could only be topped by the live piano version off I Might Be Wrong, which by the way is also a great song in this album. Even You & Whose Army builds into a glorious self reflection. I debated on my vote and it got a demotion for one purpose only: as the wonderful lady of the house accurately assessed decades ago, this is a headspace album not meant for the daily grind or a party full of cool people. Leave it to us melomaniacs.

Rarely does an album jump up and tell you, “we showed up and we’re ready to kick ass!” I had never heard of Elastica, but they were going to be a summer project now! They reminded me of a combo of the Interruptors and the Go-Go’s, with some homage of the Bangles and Bananarama mixed in. Edgier. Swankier. Cooler. Sheila Chipperfield’s bass tone is sick! Key songs are Vaseline (a classic punk anthem), SOFT with that awesome break in the middle, and Smile’s Ramones-style-power-and-fade format, though special shout out to Indian Song, which seems misplaced with its Norwegian Wood feel, but once you get into it seems right in the mix. If this came out in ‘95, why am I just hearing them in 2025? Something seems wrong in the world…aside from everything political….

My opinion on techno is not new: it’s hard to judge when most of it sounds the same. Though there are elements here, this was unique. David Holmes created a version that was street smart and jazzy, with a touch of ‘70s blackspliotation mixed in. It’s like Curtis Mayfield and Skrillex had a love child. I can see how this helped move the genre from techno to trance and eventually dubstep. I swear I used to hear this at a martini bar I used to go to the early part of the century (aka, the Funky Buddha). I don’t know if I would look for it but I didn’t dislike the listen. Now I want a lemon drop martini…

I know this is considered one of the best albums ever, but this really does require context to make that claim. When listening to it as a solo album with GenX or later ears, it’s a good album with some classic hits. Sloop John B, Wouldn’t It Be Nice and God Only Knows, the last song played in Love, Actually in which everyone wanted to confess our love for Keira Knightly via cardboard, are all standouts. But when taken in context of the evolution of the original B-Boys, from beach kings to embracing both the psychedelic age and their own fame in a changing musical/social landscape, this album was huge. If I had grown up with The Beach Boys listening sequential order with baby Boomer ears, I would have either loved or hated this album because it was so different. Being honest, it probably would have been the latter. This was a passion project rather than a Beach Boys album. Brian Wilson pretty much did this album with the Wrecking Crew (shout out to Carol Kaye’s bass work!) because he didn’t think his own brothers were talented enough. This album was his Sgt. Pepper or Cloud Nine. The problem is the B-Boys turned a corner and wouldn’t see the same commercial success until Kokomo in the late 1980s. So the question is roused: though great, was this album actually the beginning of their end?

I did not realize ABBA put any albums aside from Gold?! Growing up I hated ABBA because it was disco, and disco sucks. But then you listen to Dancing Queen, and it’s hard not to get your groove on, even just a little (let’s be honest, it’s not going to to be just a little). Then you hit Knowing You, and it’s kinda infectious. Money, Money, Money is a classic, because it is a rich man’s world. And there is Fernando. Yum. This album, I was surprised by When I Kissed the Teacher, which I only remember from Mama Mia!, and Tiger, which is silly but groovy. When 25% of your Best Of comes off one album, you know it’s a classic. Disco still sucks but damn it’s good some days.

This is not a hard one to write. When this album came out, it created a seismic shift is rock/metal because, for the first time, metal went mainstream. The reason is Metallica actually put Jason’s Newsted’s bass on the track as opposed to leaving it turned down to ‘haze’ him into the band after Cliff Burton’s death (dick move, Mr. Ulrich). In truth, the album slowed down the temp and used a heavier drop-D tuning, and in doing so created the groove metal era. This can be attributed more to producer Bob Rock than to the band. Metal purists say this was the end of metal but for most it became the Golden Era for the genre as established bands like Megadeth, Anthrax, Slayer, Testament, Suicidal Tendencies, Motley Crue and new bands like Pantera, Sepultura and Machine Head (now all legends) all followed suit. There are some great songs, such as the radio/video king Enter Sandman, and the ballads Unforgiven (the original the only good one of the three they did) and second intro-guitar players dream Nothing Else Matters (no cords, just four open strings), the heavy Sad But True and God Who Failed, and Newstead's immortal bass-riff contribution My Friend of Misery. I am biased: I was one of millions of 14 year olds who waited in line for this album. In retrospect, Metallica had better albums earlier, but this one set the entire genre ablaze. It’s an accessible must listen.

When I listened to This Year’s Model (1978), I remembered why I was not a fan. I listened to Imperial Bloom (1981) and I reconsidered. This album brings me back to the beginning. This solo album is definitely different than his work with the Attractions-edgier, more varied-but it’s still not my thing. Pony St. and 13 Steps sounded a lot like the Musical “Rent”. There are a few good songs on here. Kinder Murder was lyrically interesting, and had a good musical flow. The ballads were very ballady, and the latter half of the album sounded like…well… him, or him trying to be Springsteen (Just About Glad). I don’t regret listening but I probably won’t be coming back. More for the Castillo fans…

This album was very much a produce of its time, and fortunately for us, it was a good time. The first song, Sleeping on the Left Side, started and my instinctual thought was College-radio stoner techno. Then when track three, Butter the Soul, hit and the sitar started, I knew I was right! I actually enjoyed this album a lot. It reminded me of Fatboy Slim or Lionrock about that same time, just more chill. The first half the album was pretty solid. The later half was odd with the skit-like interludes, but then came back with songs like It’s Indian Tobacco, and vocal variations like the rap on Candyman and female vocals on Good to Be. I’m coming back to this one (or maybe I already have….).

Steely Dan is sitting around the BBQ, drinking a few beers while the families are mingling over a few mean games of cornhole or a disorganized game of volleyball using an old badminton net left over from a forgone time. For me, this album is not particularly memorable in the annals of music history, but it was great for what it was: a product of the time. Not being seasoned Steely Dan fan, my assessment is simple: their musicality was good; harmonies great. However, their biggest point of experimentation came in the first song, and was limited to the first minute. Some key songs were Rikki Don’t Lose that Number; Pretzel Logic and Monkey in Your Soul. Overall, solid album but not world changing.

I realized while listening to this that jazz is the original stoner music! Half joking, Jazz has a transformative quality that takes the listener to places and guides them through a journey of the band leader’s design. Thelonious Monk was frequently talked about in high school jazz band for his syncopation, which I am not sure Mr. Stevens did a great job explaining. As such, I can only judge this album on feeling, which Thelonious had plenty of. Key song for me was Ba-Lue-Bolivar Ba-Lues-Are, especially the bass solo and the drum solo, which you can hear the influence in the later recordings like Ginger Baker’s Toad. And of course, no jazz album is complete without a kick in’ Xylophone solo, provided by Pannonica. There is talent in this album I will never understand, but definitely respect and appreciate.

The Who are a legendary band who helped accelerate hard rock as we know it. This album is a great example of that but admittedly there are a lot of songs that sound like the Beatles. It was obvious they also had strong influence of the American blues artists with covers of James Brown’s I Don’t Mind and Please Please Please, and Bo Diddley’s I’m a Man, which I appreciate they gave a little more English rock edge to rather than playing it straight. Legal Matter and the Kids Are Alright are more pop rock, but great in their own manner. I wish I Can’t Explain would have been on the original release rather than a B-Side as that was one of the first exposures to the Who I remember (it was actually covered by the Scorpions at the Moscow Peace Festival and I followed up). A key (new) track for me was the Ox, which showcased a little bit of Entwistles unique bass stylings (he was known also as Thunder Fingers), and Keith Moon’s drummer which would later become the inspiration for the Muppet Animal. But the all time favorites were My Generation, which became an anthem of not only the band but their entire generation and those to come. This is not their best album (aka, Who’s Next) but it is an awfully good one.

I realized listening to this album that I really like later Bruce. He isn’t the young, vocally fortissimo in-your-face idealist, but instead a storyteller who has been around the block a few times. This album is a strong reflection of a man’s self-reflection in the post-9/11 world. I think we all went through the same thing, which would be curious to see if this album resonates with a generation that didn’t directly experience this. Empty Skies and Counting On a Miracle were particularly resonant for me as it brought up memories of seeing Denver in silence on 9/12 and having that feeling of absolute uncertainty. I am going to dig further into this album and this era of the boss.

The entire time I was listening to this album, I was thinking about other bands. When I was still dating, that was usually a sign you needed to move on. This wasn’t a bad album overall, but my first instinct was they sounded like Gaslight Anthem. But then The Kinks (Roadrunner) and then CCR (Pablo Picasso), the Doors (Astral Plane), and especially Velvet Underground came rolling in, especially on songs like Someone I Care About. Even Girlfriend sounded like the Turtles. I didn’t hate this but I think I would prefer listening to the original bands rather than the knock off. Time of move on….

Stephen Stills always seemed like the most talented of the CSNY team, especially his guitar chops. Old Times Good Times, Black Queen and Go Back Home are great points of supportive evidence. It was interesting hearing Love The One You’re With as the original as I always thought it was Luther Vandross’ song, which turns out the original is less gospel but keeps the vibe. Overall, I don’t think there was a bad song on this album, though To A Flame and the flute solo on Cherokee wasn’t a favorite, though the later had a point. I may even look around the bins for this one of vinyl.

By the time we are done with the 1001 I can proclaim myself to be a jazz aficionado! This was well played but I would be lying if I didn’t say I lost interest in the album about 1/2 through Solar. It felt too Paris Nightclub Noir, like background in a Humphrey Bogart movie. Scott LaFare’s bass work was intriguing for many reasons: his use of tapping (bouncing the strings off the fretboard) and bending the notes/strings was uncommon until Eddie Van Halen mainstreamed it in the late 1970s/early 1980s, and no-one every did/does it on double bass. I respect the talent of all these musicians but this jazz just felt like a product of the time rather than enduring the test of time.

AC/DC, known for their bluesy-rock and schoolboy outfits, brings their Catholic Faith into full view on this album. This rich concept album begins with the tales of a young man (absolutely NOT autobiographical on Bon or the Young Brothers part) journey starting with their subjugation to sin as they reconcile their Highway to Hell (very Catholic). Songs like Touch to Much and Walk Over You masterfully represent the moral conflict the protagonist is feeling toward his lustful habits as these are a continue part of the Highway monologue. But, while in an amorous moment he meets a girl whose is of Catholic Rhythm methods (Girls Got Rhythm) squelch his sexual desire leaving him open to the concepts of redemption. This trial is graphically detailed in his fall from grace with songs like Shot Down in Flames and Get It Hot, where the fear of eternal damnation overtakes him, and finally he finds salvation in You Want Blood where he accepts the sacrifices of the divine and Love Hungry Man where he accepts his need to spiritual growth. But, he is aware that the Night Prowler is ever lurking to take him back. It is spiritually uplifting and should be played in every church at high volume. …and completely crap. After 340 albums. I thought I’d mix it up. Great album though, and a cheers to the great Bon Scott.

For Leonard Cohen fans this early contribution to his catalog is a must listen. It’s fascinating hearing his voice before the resonance of later years kicks in. In many ways his spoken-word-style made him the Macklemore of the Nixon generation. I imagine beret wearing post-beatniks and sunglasses snapping their fingers vigorously between songs in a Saturday Manhattan coffee shop. For us fair weather fans, this was interesting but not required. The upbeat Diamonds in The Mine was a revolutionary ballad made especially relevant by Congress’s recent passing of the bill making billionaire’s richer and defunding healthcare for ten of millions, and gutting education programs. Dress Rehearsal Rag was an interesting look at Santa Claus razor blade serial killer. And the regrets of Joan of Arc is always an interesting subject. I don’t know if this is a look-for album, but it was …interesting.

This first class I took in college was called Blues as Blueprint, and it was a seminar class focused on the American narrative through the arts. Fats Domino was the first album I had to analyze, and I have been appreciative my liberal arts education ever since. I always loved how you can hear the evolution of New Orleans through his music, from Joplin’s Ragtime to Louis’s Jazz, a touch of Louis Prima’s swing and even a bit of Delta blues. And his lyrics hit at the heart of the American experience in the 1950s: subtle deviate behaviors, mournful hearts, the silliness of daily life, the post-war optimism. Key songs for me were all of them, but the Rooster Song with its rockabilly swing and Valley of Tears bring me back to the sock hop I never attended but wished I had. He’s an American legend.