Doggystyle is like a walk through the most beautiful, vibrant and serene forest you ever walked through, except there’s all of this male genitalia you have to dodge to get through it. By the time you get to a Sukiyaki reference, that all falls away to gorgeousness. Lyrics are still hard to identify with, but it’s beautiful regardless.

This is about the trippiest thing I ever heard on headphones. There’s parts of this I’d gladly kick back to. Not the screamy parts though.

Purple Rose of Cairo is my favorite movie. Hard to reconcile that knowing the things Allen has done. It’s still my favorite movie, and the best I can manage to do is call it that and give it four stars in tiny protest for an incredible film. Dark Twisted Fantasy is one of the best albums I’ve ever heard. Incredible. The lyrics are clever, the orchestration is intense and complex. I’m listening to Monster now. Layers and layers of incredible wit and genius. Four stars because it’s Kanye fucking West.

I was ready to dismiss this album as an unwelcome defense of a South with the old references to Neil Young and for Northerners to stay out of Southern business. And maybe they just wanted to put a barrier for only the interested or committed to reach track eight “Three Great Americans,” which was a genuine education for me. I had no idea that Sweet Home Alabama was a character’s perspective, that Young loved the track, the deeper story of George Wallace, or the story of the singers themselves. And it brought me to a real appreciation of their histories, the storytelling and the artistry that went into this and the rest of the album. But why the hell would you stick this track so deep into the album? It clarifies everything? Almost seems like a “you don’t get to understand me till you see me at my worst,” which is shitty behavior whether that’s a Southern thing or not. Just throw it at the first couple of tracks and teach someone something. Damn. Otherwise, a great, epic album.

I kept one of the songs as a favorite, Saul to the Moon, which I could see doing for a moody drive at night. Very trippy overall. Plays better with headphones.

There’s Hallelujah, of course. The rest is ok. Gets fun when he plays the blues at the end.

Leads off with three well-known hits and a couple more. Most of the rest is noise except for the final track, “Bad Girl,” which seems like a warm up for the later “Tube Steak Boogie.” Other than that track, I wouldn’t go back to any of it as an album; they come up enough on my radio stations.

This is the first album of someone I already loved. Metropolis was a favorite album of mine, and I was surprised that both albums are over 10 years old. Anyway, I love when she’s telling a story. But Tightrope, which has OutKast’s Big Boi talking about MacBooks and NASDAQ, it takes me out of a future dystopia. Anyway, I liked the suite parts.

Enjoyed it overall, even if none of the deep dives added to what I liked about them. I could listen again.

It’s a light pink that gets repetitive. I went six tracks in and I don’t think it gets better. Not very good. Rather hear the Ramones or T Rex.

I enjoyed it. It’s a mood. I could come back to it.

Starts strong. Walking on the Moon is a great start to a workout. Kinda meanders. One song, I forget which, too lazy to look it up…starts with someone saying it’s bullshit…is just well, bullshit. I like this one for its hits and the title track. Not much else.

This is my first five-star. I always (perhaps irrationally) expect an album to tell a story. Marshall Matherd tells a hell of a story. I almost feel bad, but easily can imagine, Eminem compromising with record execs to make that disclaimer at the end. His non Stan role in Stan (a song that changed the language) is how I imagine him to be. And maybe that’s a character too. The others are sad detestable characters. But to condemn them is to condemn any other creator of well-crafted villains. I loved this album, and I’ll come back to it like a favorite read.

It’s fun, but I wouldn’t need to come back to it. I enjoyed the encore “Nutrocker” more than the main performance.

It was fine. I enjoyed what I was familiar with . The rest seemed convoluted or within a context deep in some memory hole.

This is like a book of poetry that you have to judge on a first read. I knew Susannah, and the last song was lovely. The rest deserves more consideration. But I want to read it more than I want to hear it.

I could just listen to this all day. Lovely.

Never heard of Ute. Notes hit sharp in the first track. Sounds like a cross between Barbara Streisand and Tori Amos. I see a lot of comparisons to Edith Piaf in notes. I get the overwhelming artistry in her work and that of the talent featured in the songs. I just don’t enjoy this. Feels overblown and too operatic without caring about the characters, like a Vegas or Lido show. If I want a dramatic German operatic experience, I’ll listen to Janelle Monet.

I love Hendrix, but he’s all over the place here. A couple of good deep cuts, classics. What’s with the applause?

So this is where Shameka comes from. I liked this more than I expected and will likely come back to it. Added Relay to favorites.

Exciting at first, but ultimately repetitive.

Surprisingly pleasant. I did not expect Bkack Sanbath to make good background music while studying Grimm fairy tales. So many decapitations in both….

Eh, it’s Buddy Holly, and not my favorite Holly. 26 minutes across 12 songs goes pretty fast. I have this on infinite playlist. So when the last song is followed by Chuck Berry’s Johnny B Goode, and it’s the best things far and away I’ve heard I. The last 27 minutes, it’s telling me to stop trying to justify Chriping as anything I’d come back to.

So this is where Birdland comes from. Otherwise, it sounds like a forgotten 70’s or 80’s film score. Unnecessary.

Never heard of them. A nice, funny, near Bowie experience. I’d listen again but probably not seek it out.

Started strong, Take Me Out is legendary, the rest is okay.

I know it’s Nico and the whole arty Warhol pedigree, and the influences on musicians I respect. But this was just awful. I don’t like her voice, nothing caught me in any of the songs, and reading she was likely incredibly racist. I don’t have anywhere to go with this.

I get that it’s rock, and I get that it’s noise. But I don’t get noise rock. Pass.

This may be my first five-star (I think Marshall Mathers got one also). I was familiar with the hits, but the whole thing is vivid and gorgeous. I will come back to Blue often.

The deeper cuts? Nothing.

I mean, a third of it is Papa Was a Rolling Stone, which is incredible. But the rest is more covers and nothing that grabbed me.

Not for me. I get why my kids would enjoy it.

It was nice of 1,001 to give me my own personal Jesus on Easter Monday. The rest is meh.

I adored this and her. It gets five stars just for the Betty Boop stuff at the end.

It’s okay. Feels like Happy Days interstitial music, and probably is. Love Hurts started here, and it’s a good version. Cathy’s Clown is better than I remember. If I want an immersive pre-Beatles moment, I guess I’d listen to this and Holly.

Really enjoyed it and added Gotta Get Up to my favorites.

I’m sure it was revolutionary and historically significant. I was just bored by it.

I…don’t get it. Sounds like pretentious electronic stuff. Bleh.

Best taken in small doses.

I love the hits from this album and overall enjoyed the deeper cuts.

I like the first song, but the rest kinda faded into more of the same.

I love CSN, but separately, Crosby’s rough work.

I love Alice Cooper, and I think this album was going for a theme of what happens in the absence of school. A critic on the Wikipedia article confirmed that. I get it. I don’t know if I’d come back to it unless I just wanted to hear more Cooper. I liked the West Side Story connection.

I enjoyed it. Between hits and deep cuts, it’s a consistent vibe I’d come back to.

Wanted to like it, but it just wasn’t enjoyable.

This is about the trippiest thing I ever heard on headphones. There’s parts of this I’d gladly kick back to. Not the screamy parts though.

Loved this. I could listen to Miles Davis all day.

Stand is always fun, but the rest doesn’t compare to Out of Time.

I don’t know music all that well, and certainly not ambient. To rate this, how do you tell where this ends and other ambient starts playing on an infinite list of similar music? Maybe this is one of the best 1000 albums because it innovated or otherwise opened the genre. But without researching it, why is it special?

I’m about 50 albums in and this is the first that I both never heard of and really enjoyed. I’ll be looking into more from this group.

I love Kate Bush. But the Pet Shop Boy rap stuff in the deeper cuts was distracting. Running Up That Hill gets regular play.

I love O’Connor’s voice and Nothing Compares is done so beautifully. The rest is fine but not anything I’d go out of my way for.

I get this speaks to an audience. It’s just not for me. The If I Were a Rich Girl bit was cute. Satisfaction? Bleh.

It’s fine, but not as profound as I think it is for others.

First 1-Star in 60 some random albums. This is a total energy suck. Maybe somebody gets a misery-loves-company boost(?) from this, but it just makes just wait for him to stop his warmly whining. And I’m an empathetic, professional Santa Claus. No. Aggressively no.

I do not need to hear we’re turning to dust repeatedly to start my morning. Lotta nihilistic stuff going on, 1,001. This is like Aimee Mann with an electric gimmick-obsessed producer. But the nihilism is worse. Hoping for Weird Al to compensate.

I really liked this. Had no idea what to expect. And yes, we all want to be cats.

Surprisingly enjoyable. The first track really kicks.

Boring. I get it, but not for me.

An amazing album. It’s like a photo album of despair and abuse. Wow.

It’s early Queen and Killer Queen is amazing. The theatrics, like in In the Lap of Gods, is fun. I might come back to it.

This was like a good brisket with an enormous fat cap you have to trim before you get to enjoy the meat of it. That opening long track was more endless than timeless. And I was ready to dismiss it. But the good non-experimental stuff was really enjoyable. I’d come back to everything except that stuff at the beginning.

Whiny. I get that people think he’s so important to their growing up. But I just waited for the album to be over.

I just feel bad for Björk going through the breakup while listening to this. I love that crazy whirling dervish of an Icelander. Go do your thing, Björk!

Duh….

Nothing remarkable. Not much reason to come back to it.

Bleh

My God, fans of the non-hit stuff must have been insufferable. The hits are great, but not the rest.

Oh my God is this a beautiful album. Easily the best one so far where I knew none of the tracks. Just plain gorgeous.

I’ve loved the first track back from High Fidelity. The rest is just kinda irritating.

Bunch a noise. Not going back to it.

Very familiar with this one. The deep cuts are tolerable. It’s like visiting an old friend.

It’s just an awesome vibe.

Liked it a lot more than I thought I would.

Less pretentious than Parsley Sage Rosemary and Time. Still, tough to get through some of the deeper cuts.

Amazing

Can’t get behind the lead singer’s voice. Waited for it to be done.

Lovely jazz from someone I hadn’t heard from before. I enjoyed it.

I really enjoyed this. Just a great 40 minute vibe. I’ll come back to it.

Hard to argue with so many classics. Unavoidable rather than seeking out.

Before knowing the backstory of Songhoy Blues, I just thought it was great guitar music and wished I understood what they were singing. Reading about them, it’s a must listen and I think they’re heroic. Preserving their culture with such a context is amazing. I love this band and will come back to it.

It’s okay. The Drugs Don’t Work connects along with Bittersweet Symphony.

Purple Rose of Cairo is my favorite movie. Hard to reconcile that knowing the things Allen has done. It’s still my favorite movie, and the best I can manage to do is call it that and give it four stars in tiny protest for an incredible film. Dark Twisted Fantasy is one of the best albums I’ve ever heard. Incredible. The lyrics are clever, the orchestration is intense and complex. I’m listening to Monster now. Layers and layers of incredible wit and genius. Four stars because it’s Kanye fucking West.

I generally like Beck. None of these songs are ones I’d come back to, but the vibe is good. I wouldn’t mind hearing it again.

Not great, like Papa Was a Rolling Stone, only they got distracted while writing the lyrics.

Boring, really. Never liked their hits and this just seems like overreaching 80’s synth stuff. Bonus star for a funny album cover.

Like jazz, I don’t have the sophistication to know why a particular rap song or album is especially good. I just really liked this album. I’d come back to it. Keep your eye on the sparrow!

Irritating. I won’t go back to it.

The hits are fine, but the deep cuts are bland.

It’s okay. I listened to the original recording because no one has 4 hours for the long version. Harmless.

It’s like two albums: one being greatest hits, the other being these long intro deep cuts. It’s lovely.

Amazing. Somehow like the Dead, but better. Love these guys.

I really wonder what it was like for people in 69 to hear such a dense album of hits with those harmonies as the Beatles were going away. It’s lovely. Only too familiar to get the five stars I use for the albums I come back to. They’re in heavy rotation everywhere else.

Liked it much better than expected.

Another band where the less you know about the members (John in this case), the better. California Dreaming is so damn powerful though. Cass deserved better.

I hate this band. I’m halfway through this, and it’s the worst workout experience I can remember. Horrid. I’ll update this if it gets better. But despite my option about most things, I have little hope for this. Screw you, Scritti Politi, you pablum spewing over produced 80-something-schlock muckers.

Brave guy. Not my kind of music, but I admire his courage.

Amazing stuff that almost feels like a snapshot of a much more complex several years in the 50’s for him. Weird, crazy genius. Love the music.

Loved it. Better than s& g

The album was only available, though I found the title single. I’m now a fan.

Doggystyle is like a walk through the most beautiful, vibrant and serene forest you ever walked through, except there’s all of this male genitalia you have to dodge to get through it. By the time you get to a Sukiyaki reference, that all falls away to gorgeousness. Lyrics are still hard to identify with, but it’s beautiful regardless.

He sure seems to like himself. I don’t.

It’s got a good cohesion to it. I’d come back to it.

Didn’t know what to expect, but I enjoyed this. Kept a couple tracks as favorites.

It’s a trip, it’s got a funky beat, and I can bug out to it.

The first track was amazing and I couldn’t help smiling long broadly, tapping my feet, and just being in the world it created. Then the rest of the album passed by being ok enough, but not nearly as strong as the first track. Overall, it’s fine.

Oh, you’re a trippy bunch. Not my thing, but cool.

Bleh. Hard to listen to. Pretentious.

Hits aside, it’s stale blues. I like their later albums.

Not bad. Had no idea China Girl was his. Ok as a one-timer.

I loved their two videos from 20 years ago (Yikes). However, the bulk of the album just seems like random noise. I don’t get it.

After the first two hits (of which “I Feel a Whole Lot Better” really clicks), it’s kinda bland. No great deep cut discoveries. The Bo Diddley stuff in Don’t Doubt Yourself, Babe is ok, but it’s still their voices. I’ll listen to Dylan or Petty first. We ain’t meeting again, guys.

It’s the Cure. Good for a specific mood, but there’s no “Love Song” on this album.

Unfairly gets four stars because there’s so much of this out there to stumble upon that I don’t need to hear the album for the few weak deep cuts. It’s amazing work.

Loved this. Had no idea what to expect, but these guys were fun. Definitely coming back to it.

Sounds like the Aquabats with whinier lyrics and less Mooncheese.

Surprisingly good. I enjoyed the North American track especially.

It’s got an interesting vibe, but not something I’d come back to.

Holy shit! I was already sold on Lupe Fiasco with three tracks favorited before realizing this is the guy that did Daydreamin’. Love, love, love this album. The orchestration is so rich, brilliant lyrics. This is a favorite.

I like the hits, not much else.

I love Rundgren, but this seems where the aperture of a film is a little too far back and Rundgren thinks it’s a good idea to show the behind the scenes crap. You like all those false starts and trail off in “Think of Me”? The whole album does that. Bleh.

Irritating.

Not his strongest album, but still pretty great,

It’s a vibe, and the urgency of the social issues is real. But it seems heavy handed. Like the ambiance of voices and the hits are great.

I was ready to dismiss this album as an unwelcome defense of a South with the old references to Neil Young and for Northerners to stay out of Southern business. And maybe they just wanted to put a barrier for only the interested or committed to reach track eight “Three Great Americans,” which was a genuine education for me. I had no idea that Sweet Home Alabama was a character’s perspective, that Young loved the track, the deeper story of George Wallace, or the story of the singers themselves. And it brought me to a real appreciation of their histories, the storytelling and the artistry that went into this and the rest of the album. But why the hell would you stick this track so deep into the album? It clarifies everything? Almost seems like a “you don’t get to understand me till you see me at my worst,” which is shitty behavior whether that’s a Southern thing or not. Just throw it at the first couple of tracks and teach someone something. Damn. Otherwise, a great, epic album.

I get that it’s experiencing the Autibahn in an album, like a long road trip complete with highway hypnosis. I just don’t know if that’s fun. Respect the artistry and the minimalist album cover.

Pleasant, but not his best stuff.

Nah. Boring.

Love Dave Grohl. Good guy, good first album.

I knew nothing about rap/hip-hop until I started this project. And I’ve been exposed to much more gorgeousness than awful, and this is gorgeous. Weirdly, the Apple version is some kind of radio-safe version with silenced profanity. And it takes away from it. Beautiful album.

Sometimes I get in the mood for this sort of thing. It’s fine. I think it’s consorting with the devil was edgy at the time. Now it just seems juvenile. The music is great though.

Love White Stripes. Amazing album.

Deep lovely stuff that doesn’t murder anybody this time. Nice!

Noisy.

The hits are great, but by the time you reach “Something’s In The Water,”… I don’t know who enjoys that. Just seems cacophonous.

I’m glad Zappa showed up. I love this album so much. Inspired me to take on Joe’s Garage after. I’ll probably take a deeper dive.

Not available in the US on Apple Music. I found the specific track on an album called “3” and am rating based on that. It’s beautiful.

Not as strong as Autobahn, but good enough to return to.

Goes great, and then you reach Mother, and then…yeah.

Very sweet, kept a couple of tracks.

I like a lot of punk/post punk, but this didn’t do it for me.

Hard to get through a title like “Smack My Bitch Up,” but I have to sdmit the entire album goes good with driving on a highway. I’d come back to most of it.

Classic, and added She’s Out of My Life to my favorites.

It was okay, but not something I’d return to.

It’s just relentlessly rocking, amazing stuff. I could listen to these guys again and again.

Not my thing. I get what’s it’s doing, but I really just wanted it to be over.

I mean, it’s the Clash, and the hits are legend. But the rest is non hit stuff sung by the Clash rather than something I’d want to hear again.

It’s not Nevermind. Difficult to get through beyond the hits.

Pleasant, but Pentangle is much better to listen to.

Legend. It’s every bit better because of the audience. Such a crazy, bold thing to do. And a great listen.

Oh, this is a fun one. Playful and harder than glam. Lots of fantasy tropes. Good stuff.

Probably more influential on my growing up than any other album. I love everything about it.

Lovely, lovely voice.

WTF? Then awesomeness. I deeply enjoyed the surrealism of this album and will definitely come back to it.

Starts innovative and cool, descends into noise. I’m sure it was groundbreaking, but isn’t very interesting.

Heroin’s okay, but it’s not as good as other Lou Reed stuff.

I don’t know the angry person that enjoys this. Not me.

Gets a fourth star for Maybe I’m Amazed, maybe my favorite song at one time.

This is one of my favorite albums ever. I could listen to Knopfler all day.

Had a nice groove, but nothing I’d return to.

“Forget” this.

Oh, that’s where Connected comes from. Rest is okay.

Amazing groove. Fun.

Legend. Hits are stronger than the rest, but it’s all good stuff.

Surprisingly solid. I rolled my eyes when I saw it come up, but I give George and the others credit. Lots of good orchestration. I enjoyed this more than I expected.

Lovely early stuff, though the genius comes later.

Lovely, and I added a couple to favorites. Nice discovery.

Surprisingly enjoyable. Ray of Light is a new favorite.

Pretentious and annoying. Hard pass.

Nice work. I think I liked stuff from other albums of theirs better.

Whoa…. I listened to this album on a treadmill while doing an entire expert sudoku perfectly, taking pride in my concentration. And I imagined Zappa saying I wasn’t listening at all. I’m going to need some time with this.

I can kick it.

Eh, never was a Tyler fan.

One of few albums I actually know intimately. No question five stars, still stirring.

Irritating. I don’t know who enjoys this.

Hits are fine, but was never into these guys.

Classic stuff, weirdly depressing in a stupid naive ‘84 world view way.

This version wasn’t available in the States, so I listened to the 20th anniversary edition which was. Annoying. Gets a second star for the percussion.

Great vibe and lyrics. Just not my thing.

You can leave this home.

I love these guys. El Camino is stronger, but this is a great album.

I don’t get it.

A special album as “This Will Be Our Year,” discovered at the closing of Schitt’s Creek, is my wife and my song. The rest is glorious and lovely.

Blech. Seriously, just…blech. Tough to get through.

Steely Dan used to be my favorite band (and Aja still completely rules). However, listening to the deeper cuts on CtE, and maybe the not so deep cuts, the lyrics are starting to sound like obscure clues in an escape room.

Pleasant enough (gets string in the center, but nothing memorable.

It had one interesting track toward the end, Lion in Winter, I kept. Otherwise, its early BeeGees leading up to better stuff in the subsequent albums.

Gorgeous music, though the famous bookends are the best parts.

I get the talent, but it all sounds empty. Guess I’m not a Swiftie.

Sweet, but ultimately boring. I like other albums he’s done.

New to me and just beautiful. Four songs, and I favorited three of them. Easily the highest batting average of any album.

Pleasant. I liked the first track enough to favorite it.

Lovely at first but fades into the background, and there’s a lot there. Gets tedious at the end.

What’s not to love? It’s nothing but hits and I’d still go out of my way to take the album in. Ever read the lyrics to “My Wife”? It’s really funny. I always thought “she’s coming” meant something entirely different. Great album all the way through.

An interesting album with the backdrop of Indian nuclear proliferation. I liked it more than I expected.

Talented but nothing enjoyable enough to come back to.

Familiar territory, most welcome today.

More worms than hooks.

Not strongest Springsteen, but you can feel his heart there in the aftermath of 9/11.

So that’s where Fairytale of New York comes from!

Interesting rap, but not something I’d ciome back to.

Beautiful Day was a life changing song for me when it came out, so I have a special relationship with this album. It’s lovely, has a good thread through. I’ll come back to it.

Couldn’t get through it. The lead just hits bad. The “hit,” Another Girl, Another Planet has great music, but even that is wrecked by the lead.

How can you not give this album five stars? It’s an incredible album with so many strong hits, and the deeper cuts are solid. Always a pleasure to listen to.

It’s definitely a mood. A phlegmy, phlegmy mood which I weirdly love.

Not a Radiohead fan, but this was not bad. Kept a couple as favorites.

I’m cheating as I didn’t give it a fresh listen. Suffice to say I know this album to the point where I know they did Clare Tory dirty on Great Gig in the Sky. It’s five stars. Next!

I hadn’t realized this album was (after a week at number 1) the #2 album beneath the whole run of Sgt Pepper. And it’s very good. They were right to resist Don Kirshner. I kept some as favorites and, while I always respected Nesmith, have much more for the whole band. It’s a great listen.

Exotic, fun.

Incredible, unexpected genius. I’m a new fan.

Not as impressive as their later stuff. Passable.

Meh. Nothing stood out.

Somehow manages to be all over the place and boring at the same time.

Gorgeous album. Geddy Lee!!!

I get why it’s legendary, but I mostly couldn’t get into it. Not for me.

Not terrible. One good track in the middle I saved.

Deep cuts are annoying. Otherwise genius.

Surprising that a new British band would opt for Route 66 as their opening song. Interesting covers. I’d rather listen to their other albums.

This was a genuine, real surprise. I love this crazy surreal, Meshuggah.

Kinda tedious after a while, like she was struggling for filler.

Not very interesting. Pleasant enough.

Not for me. Tough to get through.

Yeah, what everyone else said.

Weird, not enjoyable.

There isn’t one single on here that stands out, but the experience of the entire album is joyous. I want to have a Jamiroquai experience rather than any one song. Their concerts must have been great.

I never listen to it all the way through, but it’s kind of all over the place with some brilliant moments. I might come back to it again as a full album.

Awful. Don’t need to revisit.

Not for me.

Annoying and whiny. I know there’s good Morrisey out there, but not on this album.

Gorgeous stuff, though Wild Workd is kinda catty when you pay attention to it.

Just gorgeous.

So much here, so much content. There’s a mood for this I’d have coming back to it.

So many points for Nick of Time. The rest is lovely.

Love the opener, but missing the Crosby and Nash otherwise.

I love everything Dusty Springfield does.

Surprisingly good. Nothing stood out, but it’s neat to hear the Byrd’s’ lead singer strike out on his own.

I never listened to Jay-Z before. I probably will again at some point.

It’s ok and revolutionary in its time. But in ‘24, I was patiently waiting for it to be done.

Bland

I’ve enjoyed some Mingus albums in the past, but this just seemed like a lot of noise.

I love Louis Prima. Keep some of these as favorites.

The hits are amazing, deeper cuts okay.

I can’t get enough Mitchell. So much sweetness in the stories. Heaven.

A very pleasant listen. The overall album gives context to the hits.

I’ve always loved John Prine. This is a stellar album of him.

Pleasant enough. Kept a few songs.

I liked this a lot. Unexpected and geeky.

Better listen than I expected.

A very good time. I wish the legal shit didn’t get in the way later on.