This just wasn't that compelling for me. Iggy Pop comes with a strong reputation, but it seems like vague experimentation. The single bright spot was hearing/discovering China Girl on this album. Looking into it, it was co-written with Bowie. In fact, Bowie recorded a version for Let's Dance to help Iggy Pop financially. I actually really like the version on this album. A bright spot, for sure.

I would not be surprised to learn the Radiohead is just early AI. Everything about them says they should be great, but I always walk away feeling like something was missing.

I’d like to rate this higher due to degree of difficulty, but I believe the complexity and overwrought construction of the songs is self-inflected and affected. At times there are great moments, but they feel accidental.

I tried to like this album. I had gone on and read some of the reviews before listening, and I really thought some of the negative reviews were too glib and too harsh. While the positive reviews seemed to consist mostly of fans and people familiar with the work, I was really leaning in their direction. After listening, however, all of the possible advancements and growth by the band didn't translate musically to me. There is certainly quality here, but more like a well made bookend rather than something to get excited about.

Started slowly, but really really grew on me. An amazing album in a lot of ways that I don’t quite know how to explain. There is no single. The album feels stronger as a whole rather than on the weight of its best singles.

How did I miss this in 2004? Not my thing usually, but Nick Cave sounds and feels like a mix between Frank Zappa, Funk, and Lounge Singer. The most fun I have had listening to an unheard album in a long time.

Started slowly, but really really grew on me. An amazing album in a lot of ways that I don’t quite know how to explain. There is no single. The album feels stronger as a whole rather than on the weight of its best singles.

Clearly a tight, quality band. Still haven’t caught on them… even after 20 plus years.

Amazing production value and timeless sound.

[previously heard] Solid album by the boys from Athens, GA. Not sure I would have included this in the 1001 albums as they have much better Albums in their catalog, but World Leader Pretend is probably the most worthy song from this album to revisit.

I enjoyed this album immensely. I am not an expert on Jazz, Funk, etc., but It is impossible not respect the craftsmanship and craft on every musician involved on this album.

I rated this album lower because I am not a fan of the genre. As such, I lack the competency and the vocabulary to speak to its importance or greatness. The musicality is undeniable, but I struggled to maintain interest while listening. I also couldn't distinguish well between tracks. If this is your genre, I am confident you will enjoy it as it is pleasant enough, but I didn't get it. Perhaps I will revisit this album as I develop a greater ear for the electronic side of the musical house.

I am guessing that this is an album that would really grow on you if you listened to it several times. After my first listen, my impression is that the lyrics must carry it. Musically, it is very basic and similar (to my untrained ear), but the sound is great, but I probably need to pay more attention to understand better why it is on the list.

I was really close to giving this album 4/5 stars, and I suppose that in its context, it does deserve better. In the end, however, I just felt like everything slightly underwhelmed. In other words, I was closer to asking why this album is on the list rather than getting the sense that it clearly belonging here. The sound is good, and the overall vibe is engaging, but I likely won't return to it. Hopefully, I am wrong, and it will just grow on me.

This album didn't resonate well with me. I had been on sort of an Elvis Costello and the Attractions streak having received three albums prior to this one. They were all better than I expected. This one, however, was a bit of a disappointment. My guess is that if you are a fan of EC&TA you will enjoy this album. If you're still trying to determine your level of fandom or appreciation, this one will take more time for you. I can only give it three stars.

This album is an experience. Musically, it is a playground of immense size and scope that I want to play in but lack the confidence and skill. There are moments and flourishes that are amazing, and moments that are beyond me. If you are patient, you’ll be rewarded for sure.

I have mixed feelings about this album. There is a lot to like, but I keep coming back to the idea that this seems like what an AI bot would create as an album. The vocalist has the right sound, there are musical elements that are catchy, the single is very memorable and actually sounds important, etc., but after listening to the album, I don't have a connection with the album at all. Could I spend time and listen to this album more and gain a greater appreciation for its significance? Sure. Will I? Probably not.

This album was a pleasant surprise for me. I am pretty familiar with the 1980s, but I had missed this one. As such, I enjoyed it with keen interest. Really nice, tight, sound. And the punk-vibe was refreshing to hear.

Despite claims that the album is dated (I believe it is), it was still enjoyable and a great effort. This isn’t my favorite genre, but it has multiple solid tracks! I won’t likely return to this a lot, but I am glad I listened

I really enjoyed listening to this album. I hadn’t heard it previously, and I was pleased and rewarded with almost every song. And when the song was a little more of a grind musically, the lyrics would sustain it. While it may not become a go to album for me, I am glad I was able to hear and enjoy it!

I was very impressed with this album. While I haven't listened to a lot of Peter Gabriel prior to So, I was surprised by this album. It didn't sound like 1980. It is moody and assertive, and the percussion and bass drive it all. I will definitely put this in rotation!

The middle album of the Beatle greatest three album stretch of the fab four’s career. Note for note pitch perfect! There is a ton of debate between Sgt. Pepper and Revolver and which is greater, but why? This album is fantastic and that is all that matters!

I tried to like this album. I had gone on and read some of the reviews before listening, and I really thought some of the negative reviews were too glib and too harsh. While the positive reviews seemed to consist mostly of fans and people familiar with the work, I was really leaning in their direction. After listening, however, all of the possible advancements and growth by the band didn't translate musically to me. There is certainly quality here, but more like a well made bookend rather than something to get excited about.

The Beatles at their best pre Rubber Soul. These guys are perfection.

The left too many notes

Pass.

Loved the album. Jams and covers actually made them come across as a more mature band. Great stuff!

This album is an enigma to me. It fits squarely within the pre-disco canon, but it feels like this is a band aspiring to greatness and being completely unable to attain it. They were just waiting for disco for their mediocrity to save them. If I needed to hear this before I die, it seems like it had to be done just so I would better appreciate their contribution to disco. John Travolta should be the most grateful man in the world.

The greatness of this album isn’t at all audible. Tracked with everything around/about the band. Stars dropped when I pressed play!

I never feel comfortable rating rap albums. I am a 50+ year old white guy that doesn't get it. Totally on me. Having said that, I really admire the production value, passion, righteous (legitimately so) anger Ice Cube brings here. At the same time, it is just hard to listen to for me. Not because of white guilt, but because it is just a relentless album.

I was not tracking with everyone’s general take that this album was depressing until the last song. It tipped me over the edge, but on the whole, I would say dark and heavy more than depressing. I’d throw in impressive as well.

This is a nice album for Elvis… moving from Hollywood back to his musical roots. It is just hard to picture this being released in 1969. It’s almost more retro than fresh.

Another rap album that just escapes me. Lots of recognizable samples and such, but ultimately not that compelling to me. Of course, rap just isn't my thing.

I have listened to a lot of Bowie from the 1001 algorithm, and I was reluctant to listen to this one. Bowie is an amazing artist, but his albums are very hit and miss for me. I expected this to be a miss, but there are a few surprises here. Definitely a late career surprise. Fans will be pleased, but I am not sure there is enough here to be on this list.

Tom Waits as a quirky jazz lounge singer. What more could you ask for? The band is super tight, and Tom is at his gregarious best.

I would rate this album higher, if only I could remember it. In all seriousness, this is a fine album. But like most Radiohead, it is good the way a balance diet is supposed to be good for you. In fact, it is good for you. You may even be surprised at how tasty and satisfying it can be. However, you may find yourself craving junk food not long after.

Wikipedia quoted someone suggesting that this album is the equivalent of the Sistine Chapel of electronica, and if so, let's put this genre to bed. While there is a nice vide going on, very little stands out as unique. If you left this album on repeat, you would quickly lose track of where you are. Bland.

Start here. This album is amazing. I can't believe this was released in 1969. Critics have said that it isn't as good as their previous work, but to me, it is their definitive, most accessible, and timeless masterpiece. Bravo... relistening.

I just couldn't listen.

This is a masquerade alright! I tried to keep an open mind, but I don’t see at all why this album is on the list. Two stars because it might be the best honky tonk out there.

This confirms for me that with the exception of Johnny Cash and a small number of others, country music is best done by others. Though it is strange to call Ray Charles modern, his take on some old standards all sound brilliant, nostalgic, and modern all at the same time.

That voice is just peerless. There is something about Van Morrison that demands your attention. I am not sure how to describe it in terms of genre, but the album exudes soul. After listening, I was exhausted in the best sense of the word. Great album!

The question of whether the Beatles or the Stones are better is indisputable with the Beatles clearly being better. Song for Song, they are stronger. But when the Stones are on, they can't be touched. And this album, more than their collective hits, showcase how much joy there is in good old rock and roll. And it is the album that always make you question the Beatles comparison.

I have always been a little sad that Alanis's career didn't unfold better. This is such a good and strong album. It is pop, but it also has a lot of depth to it, and Alanis unflinchingly faces demons that so many women face at the hands of abusers. Despite all of that, she has a hopeful tone that finds it way out in song. Brave Alanis. Great album.

I have respect for this album, just very little interest. Hence, the 3.

This is a very intriguing album. It feels like it wants to be a serious grunge album but the band just doesn't have the chops for it. This doesn't make the album bad, but puts it in a unique place. The sound is accessible, interesting, and compelling despite the lack of strong lyrics. Still, it have a great vibe.

I don't understand Elton John. Clearly, he is a very talented songwriter and performer, but I don't get the hype. The singles shine here, and the other songs are just what you'd expect... well composed filler.

it is so interesting to listen to the Velvet Underground. They are provocative and engaging, and their music is groovy. I am not sure about Nico. She certainly adds to this album in a wonderful way, but it isn't the most natural fit. Despite it all, this album shines!

I don't know a whole lot about Lenny Kravitz's background, but this album is super fun, energetic, and soulful in many ways. It feels like a kid in a music production candy store on a bender.

One joy of this site is that you encounter bands and albums that you are familiar with but you haven't fully explored their catalog. I didn't think I would enjoy this album as much as most of my experience with it is from the radio hits. Listening to this album with fresh ears was a delight. While I don't think it is strong as Deja Vu, it is a real treat.

This album is tight, enjoyable, and pleasant enough, but after the first few tracks it lost its magic and felt more mediocre. I am sure that this has more to do with me that with the Waterboys, but regardless,I probably won't revisit often if art all.

I really wanted to like this album. I remember hearing about them, but I never real had or took the chance to explore their discography. Listening now, I was underwhelmed. I felt like most tracks started strong but became less enjoyable as I listened. The high reviews suggest I should give them multiple listens, but I am not excited about it. Maybe I am missing something.

Apart from the occasional baseline and interesting riff, there is just nothing I like about this band.

I was surprised. I actually liked this album. Not my normal lane, for sure, but I’d come back to this.

Dirt so thoroughly wallows in the the dark elements of grunge that it feels more like exploitation than exploration of the truth or the reality of hard topics. I am sure the quality of the musicianship is exceptional, but it isn’t enough to compel further listening.

Bowie is baffling to me. On one album he can conjure up a hit at will to save it. With Low he seems content to meander around a laboratory of incomplete or inarticulate ideas with mild enthusiasm. Nothing really seems to be great or really catch hold of the imagination. It's like he is showing off the worst kind of artistic entitlement imaginable. Bowie is certainly a talented songwriter and musician, but even the best creative minds lose their way.

Many of the reviews have praised the use of sampling on this album, and I heartily agree. Mostly, however, because it is the only thing notable about the album. In the end, it felt more like a rap version of mystery science theater: three guys rapping over other media as if providing commentary. For MST it works. Not so much here.

Elvis is strange to me. It is clear that he is vastly talented, has great presence, strong voice, and an icon. Listening to this album is fascinating because you can see so much of his influence on bands like the Beatles and even more contemporary bands like Green Day. The strange part is that as influential as his music clearly is, it is not as interesting as what he inspired. This album is good and enjoyable to listen to for what it is, but I likely won't spend much time with it. It is good to listen to mostly to put him and his influence in context, but I have heard enough.

This album was largely overlooked when it came out in 1983. but has garnered some critical respect in subsequent years. Other than an interesting take on the death of John Lennon, I am not sure I see the turn.

While I certainly appreciate the variety that this album provides to this list, it seems unremarkable on its own. Much of this is likely due to the language and lack of cultural context on my end, but still there wasn't enough there musically to compel future listening.

Nice album. Sounds really good. I imagine if Elliott Smith had formed a band, this is what it would sound like.

I can’t quite tell if the is Bowie glow. Just giving him the nod because of who he is. He clearly isn’t just phoning it in, but it also isn’t his most accessible work. That said, it is engaging and compelling

Gold.

Rap is still not my bag, but I did like this album.

Nothing places you squarely in the modern western world and makes you feel comfortable and displaced at the same time like “More Songs about Buildings and Food.” The range of emotions anyone may feel throughout any given day are musically expressed as naturally as work tension and family disruptions with delightfully relevant effect. For every note you ever sang in rage along with Joey Ramone and Sid Vicious, you sing right along with David Byrne except that it seems more personal, probable, and poignant. Musically, this album features a delightful variety of style without compromising its purpose. In fact, its diversity of sound seems to its purpose. Byrne’s outlook on life and work leave no stone unturned to refreshing effect. Whether belting out and anthem of hope in the form of a hint of supernatural and spiritual figure or waxing eloquently about where one hopes to make a home Byrne and the band connect immediately through voice and music. The most joyful thing for me, however, is that for the first time in a long time, all of the catharsis I enjoy through listening to music finally feels more tangible. I may not be up for toppling a corrupt government or taking down big corporations or other institutional giants, but I feel like I can tackle cleaning my own house, enjoy my family, and start to build something meaningful… maybe even produce a new TV show, or finally feel good about moving into the city. This review is for Kenny. He knows far more about Talking Heads than I do, and because of him, I now enjoy their music as well.

What a great album. Listening to it today, I thought, what would it have been like if the full band from the Blonde on Blonde/Highway 61 musicians had joined in on this one... and vice versa. Just a delight.

Nick Drake exists in a very specific musical space. I enjoyed this album, but I have no idea how to differentiate from his other works. Thankfully, he’s really talented!

I think this album is on the list for the fact that it feels like someone won a bet. Something like, I bet you can’t produce an album if you consume inhuman amounts of cocaine and still be recognizable and listenable. It is fine musically, but just not in my wheelhouse.

It feels almost like Glenn Campbell went to France. Le passe

I’m sure the rightism by the right field wouldn’t be any better. Supposedly this is great while taking drugs. That’s fine, but it should also be good when your sober.

Much better than most electronica I’ve heard, but not enough to make me a believer…

Dr. John... needs a doctor. I don't know what's going on with this album, but this is an inexplicable inclusion one this list. I don't have a problem with him as an artist, but as an album, I don't know what I just heard.

This band is the inverse of Duran Duran. For every smooth, slick, accessible, note Duran Duran produces, Pere Ubu has its counter. It’s not that it’s bad (it isn’t), it is just crazy how consistently challenging it is to find an inroad. They are musically talented, but even more challenging at pushing the boundaries of accessibility.

Ugh

What a wonderful surprise. I love the Kinks, but I haven’t listened to their entire discography. This album is amazing. Solid themes, tight lyrics with biting commentary, and almost epic poetry. I don’t hear singles. This album should be enjoyed as a whole!

Not their most accessible album, but you can hear the development of their musical style clearly. The “Black Side” is clearly the better side, but it is all good… especially for Queen fans!

Tedious

Quite the surprise. I’m not a big fan of county, but I love alternative, so this really hit a sweet spot for me. I noticed that many reviewers called it boring, and I just don’t get it. Can you really make a comment like that if you’ve been on a string of electronica I wonder?

A wonderful expression of Janis at her absolute best.

Great voice… ok album.

Amazing. He transcends his genre with power, presence, and haunting narrative! Amazing album!

While these guys really sound like wanna-be Oasis, they are quite good. I enjoyed this album.

I don’t like country. I really don’t like commercial country..

It seems like I hear more about Siouxsie and The Banshees more than I have ever heard there work. It is raw, edgy, provocative, etc., but gets lost in the transition from Post Punk/New Wave to alternative. I kind of like what's going on here, but I have trouble reconciling the raves.

Elton John is one of those artists whose later works continually detract from the earlier substantial work. He is clearly talented and has a great voice, but I guess he is more a product of his time than an enduring artist.

There is just so much more wrong about Eminem than there is good. Can't take it.

I don't know what to make of Depeche Mode. I can't tell if they are too cynical or antagonistic. Either way, they are certainly gifted artist and they produce an excellent sound. I just don't connect with them philosophically.

It seems to me that this could easily be a greatest hits album. This guy was just in the zone creatively and fun to listen to track to track all the way to the end.

Don't know much about this band, but they sound like an American band trying to sound like a band from the UK about a year too late. By 1966, however, they are already behind the curve. I wonder if they made it.

I haven't thought positively about the slasher B movie from the early 80s since I caught it on cable as a kid. After hearing this band, the movie seems even better.

Musically, I found this album interesting and solid. But it seems to me that the lead vocalist is just checking a box. It's as if an imposter is on vocals, and he is trying to be engaging while knowing all along he's a poser.

I would not be surprised to learn the Radiohead is just early AI. Everything about them says they should be great, but I always walk away feeling like something was missing.

Beck is the Dr. Frankenstein of electronica/alt. And not the Hollywood version, but more of the Romantic Anti-hero, creating new life out of the old!

Öne out of Fĩve

I would have loved to experienced what it must have been like to live when this album was charting!

If you want to understand why James Brown is so highly regarded. Here it is. I am only giving it a four star because I now live in regret of never being able to see him live.

This is my kind of Jazz

Wow. Didn’t expect to love this as much as I did. The girl can flat out sing, and musically I found it refreshing. Great find!

A broody mix of early Duran Duran and Television. Fortunately, Japan takes the good from both and delivers a solid album of interesting music.

Lite, refreshing, interesting, but moving on…

Nice surprise and fun listen. Not sure of the significance, but enjoyable

I really like early Wilco... basically everything before Sky Blue Sky. But after a fresh listen, I am happier with Yankee Hotel Foxtrot and A Ghost is Born than even earlier works. I would have shortened Being There, in retrospect. Still a solid album.

I suppose there is something interesting going on here, but I’m more interested in the fact that enough people got it for them to have a career afterwards. I guess heavy metal isn’t for me.

#1 Record is obviously a fairly pretentious title, and sadly they don't deliver. I am not sure what they have that merits inclusion on the list, but I am sure there are some good arguments. They just didn't leap out at me.

Well played 1001. Delivering Christmas magic on Christmas… thank you.

Usually “experimental” has me running for the hills, but this was a surprise. It is a sonic experiment, but it had nice resonance, far better than most stuff in 88.

Yes. This is the origin of progressive rock, an it is very avant guard, experimental, genre fusion, etc. It is also pretty amazing. I admit that I don't understand what is going on, but I also can appreciate what is here in my limited capacity.

What a time it was…

Morrissey and Marr match each other perfectly on this album despite their tense divergent relationship. Makes for great songs!

I am not sure where to place EW&F in terms of genre and significance, but their talent is evident. Emergent disco at its best!

I’d like to rate this higher due to degree of difficulty, but I believe the complexity and overwrought construction of the songs is self-inflected and affected. At times there are great moments, but they feel accidental.

Johnny Cash is just flat compelling. His music is storytelling at its finest, and this album shines because of where and how he tells them with his own powerful narration. Enjoy!

This may be the brochure for sex, drugs, and rock and roll. The presentation may be fine, but most of this is tiresome and uninteresting.

This my 2nd PJ Harvey album, and I think she is growing on me. Great energy and presentation. Brooding and enjoyable. I will likely revisit her work beyond this list.

I get it… former punk rock gods realize they actually are musicians. Love it!

I love Leonard Cohen. He's like Dylan's less sophisticated uncle who may just be holding back to spare you some additional angst. I could listen to him for hours.

There is a new version of this album which includes more of this epic live 2 1/2 hour concert. The original release is 38 minutes. Thank God almighty I discovered this before choosing the wrong one.

I wanted to like this after reading the wiki article, but just didn’t do it for me.

T. Rex is really interesting, complex, and fun musically. It just feels to me that the tracks are not songs, but sonic experiments. The sound great, and have a nice groove, but they don't catch on the way singles normally do. Still, fun to listen to and digest.

The name is better than the music

80s production style almost killed this for me out of the gate, but Cohen talent kept me listening. In the end, he wins. His writing won me over!

Feels like Arcade Fire, but good!

Noise

This just wasn't that compelling for me. Iggy Pop comes with a strong reputation, but it seems like vague experimentation. The single bright spot was hearing/discovering China Girl on this album. Looking into it, it was co-written with Bowie. In fact, Bowie recorded a version for Let's Dance to help Iggy Pop financially. I actually really like the version on this album. A bright spot, for sure.

The music is pleasant enough, but I do not have enough of a world music vocabulary to really evaluate it. It is in cases like this that I rely on the inclusion on the list and the reviews on wikipedia to shape my view.

This could have been pulled out of a time capsule from 1989. I enjoyed it, but I would love to hear them play songs from this on their upcoming MTV Unplugged set. I think this band would benefit from less polish and more heart.

I really enjoyed this album. Of course, I am familiar the hits/singles, but they bring much of the same character throughout the whole record along with a vibe that is distinctly theirs. I still don't quite know what to make of them. Clearly, they are all very talented, and Sting's vocal range and playfulness kept me interested throughout.

This album surprised me. Usually, I give Jazz the side-eye. Never know whether I am going to get something I can enjoy or something akin to a sonic colonoscopy. In this case, I thoroughly enjoyed it.

Like most Nick Drake albums, Five Leaves Left is an enjoyable and interesting album. I have heard multiple albums by Nick Drake, and this doesn't disappoint. On the other hand, it isn't very different from his other work. Artists like this seem to always deliver in their lane, and while that lane is very particular, it is reliable. And it evokes a natural and unforced introspection. I may never be able to differentiate his work within his catalog, but I am always willing to listen.

I feel like from the very beginning, you get the DNA of The Rolling Stones. They have a sort of 'bad boy' reputation, and you can see it even in the early songs they are covering on their debut album. This is really tight garage band work, and you can tell they are having fun doing. Like the early Beatles, I don't know if anyone could have predicted their success or influence from this work, but looking back, you see all the signs that they would become something special.

Norah Jones is marvelous to listen to. She has a great, smooth and sultry voice, and her music has a nostalgic vibe that draws you in and makes you feel like you've been listening to her for years. I can't name a single song, but I am happy to listen again and again.

On paper, Derek and the Dominos should have been excellent. And in many ways, excellent music was produced. Though the band is tight and talented, you get the sense that they knew, even in the midst of everything, that they lacked cohesion. In many ways, I think this describes Clapton... a brilliant guitarist that needs help all around him to be truly great. Despite a few really nice cuts, this album underperforms.

What I love about Document is that you literally are watching this band grow up before you eyes. Each album of there's is taking bolder steps, but they also expand their musical ambitions. Excellent work from the boys from Athens!

What a surprise! This is like a rock and roll version of Vampire Weekend. The band just seems to be having fun and what they are creating. I am not sure about their greatness level longterm, but they intrigue me enough to make me smile... which means, I will probably listen again. Always a plus.

I have a lot of respect for Prince, and this album is a very good album. Both the stylistic diversity and the musical strength are immediately impressive and sustained throughout. In many ways, it is like Prince received his 80's toolkit in 1982 and basically used everything on this album and he used it well. Later efforts don't expand on it musically, but are lyrically and narratively stronger, if perhaps even a little more self-indulgent.

The Temptations are a great listen. There is something really fun about how masterfully they vocalize and harmonize with such heart and energy. Another great album from 1972. Love the funk grove right out of the gate, but I love the soulful groove on the closing, "Do your thing!"

What a surprise. I had not heard of The Coral until the list, but it is a delightful surprise. The album moves between fresh and new to older and familiar. Some tracks sound like they could have been produced in the late 60s and other feel right out of the 90s, and yet they keep it together throughout.

I am not a fan of Incubus. The first track had me curious, but before the song was over, I had a feeling that this was going to be a disappointment. All of the signature 90s alt/grunge/rock are there, but they feel generic and unconvincing.

Somehow it seems that at least one of the members of ZZ Top sold his soul for commercial success. The songs have very fun hooks, energy, and presence, but in many ways they are unremarkable or at least not clearly the ZZ Top of earlier years. They went from Rock and Roll to Pop and it basically ended them as a band. You may enjoy this album, but it is more of a stop down than a step forward.

It is like listening to the DNA of so many great bands that follow. This is infectious rebellion that doesn't have to make sense to work. Everything about the Sex Pistols was unsustainable but holds together on the album that defines the genre. It is not perfect, but it makes its stamp perfectly. I never felt so happy about anarchy! Nevermind the Bollocks!

I recently listened to the first Rolling Stones album, and I previously have heard the Beatles first album. In my opinion, the Who (perhaps by being the later of the three is really terrific. They have the luxury of having the least amount of covers, and the covers actually are eclipsed by the work of Townsend. Super fun!

I don't know much about Randy Newman apart from his big hits (Short People and I Love L.A.) and movie tunes. This album is exactly what I thought it would be, distinctly Randy Newman, and basically a soundtrack for every family drama from 1968 to 1985. It isn't bad music, it just isn't my cup of tea.

Lost in translation. Apart from a few samples of recognizable music and some welcome silence, this was unlistenable to me. Makes sense. I google translated the title… “Songs From My Disturbed Sheet Metal Shop”.

Nope! Unjustified!

I felt the same way about receiving this album that I imagine I’d feel if I had contracted Anthrax.

The list is a perfect mechanism for me to encounter an album like this one. I’m hater, but I couldn’t tell you the last time I intentionally put on some of Madonna’s music. My reaction is mixed. While the music was solid for the genre, I was surprised at the lack of breakout single(s), and by the end of the album the writing was weak and aimless… which was odd because of the length of the album. I would have cut a few tracks.

What do you do if you’re a band that catches the attention of David Bowie, given all of the opportunity to take the musical world by storm, and you tour the world as a glam rock super group, but you’re thoroughly unprepared for the role and unwilling and unprepared for fame, fortune, and the trappings of stardom and you flameout writing songs of lament as you go… a cautionary tale of getting everything you want only to find yourself empty and cynical and aimless despite your many gifts and talents… I give you Mott the Hoople… all the not so young dudes anymore!

Wow. A double album. I tried to get into it, and the music was good. But try as I might, it just didn’t click with me. My friend compared them to R.E.M., but I didn’t believe until very late in the listen. In the end, I just didn’t connect. Probably more me that them.

Bowie is baffling to me. On one album he can conjure up a hit at will to save it. With Low he seems content to meander around a laboratory of incomplete or inarticulate ideas with mild enthusiasm. Nothing really seems to be great or really catch hold of the imagination. It's like he is showing off the worst kind of artistic entitlement imaginable. Bowie is certainly a talented songwriter and musician, but even the best creative minds lose their way.

I won’t argue that the album is interesting or even innovative, but it more like background music than something I would intentionally sit down to listen to. The music almost begs you to do something other than enjoy simply listening to it. Though titled Movies, it feels more like a sound effects track than a score

You have to have a certain level of commitment to the band to join them in their exploration and exploitation of sound, dissonance, distortion, etc., and I realize that I cannot join Jesus and the Mary Chain as they engage in their work/art. Sadly, I believe there was a time in my life where I certainly would have. Glad I listened, but I cautiously wait for their next album.

It is immediately apparent that Amy is an incredibly talented artist. She has great range, style, presence, and seems so comfortable as she effortlessly moves through the tracks of the album. At the same time, there is a bleak anxiety to the album. Despite the confidence in Amy's voice, there is a dark undercurrent of a troubled character. Even if you don't consider all of the controversy surrounding the artist herself, the tracks point to an empty, dark, and doomed worldview that leaves you concerned more than entertained.

What a surprise! I really don't know a whole lot about The Beach Boys post Pet Sounds until the 80s, and the later work kind of makes sense to me. This album is full of interesting and diverse tracks that pack a punch I just did not expect. For the first time, I thought, "I need to explore this band further." Good job, Fellas!

I am much more familiar with Genesis and Peter Gabriel as separate entities, and in my opinion, it is much more interesting if you looked at their relationship in reverse. It would likely be considered a super group... Peter Gabriel joins Phil Collins and Genesis to create an ambitious concept album that explores the estranged vision of the self in the melting pot of 1970s New York City. Still, it is a concept album. While musically, it held my attention, I didn't follow the purported narrative suggested in articles about the album. But I believe them, and I trust Gabriel and the whole gang, so I am guess that it would grow on me. So, today, I give it a three and half, convinced it might eventually move higher in my book.

This album explains Rod Stewart. For years, I didn’t understand the fascination. Now, I get it. This album is a blast. It is raw, has an infectious energy, diversity is style, and solid hits. Under normal circumstances, I find Maggie May cringe-worthy, but somehow, on this album it fits and is tolerable. It doesn’t totally explain Stewart’s success, but I have to give this one to him.

This album is fantastic. I am not really sure I can explain why it is so good. It is like a soundscape for the soul where everything is explored, questioned, and deliberately left unresolved... but in a good way. It's as if the Flaming Lips pictured themselves in a boat on a river with tangerine trees and marmalade skies, and then produced an album with sweeping orchestration made by devices bought at radio shack. Don't try and understand it, but don't skip it. Listen to it (perhaps more than 2 or 3 times) and enjoy the preface album to Yoshimi Battles the Pink Robots. You won't be disappointed.

I am not sure this album holds up over the years, but it is great to hear Paul Simon when he is creatively flourishing. The tracks are strong, if a little dated, and I found myself smiling a little more than I thought as I revisited them.

And right to the junkyard this album goes, and it is exactly where it where it belongs. This album is the musical equivalent of one of those mechanical car crushers. I would say, burn it, melt it down, and use it to make other albums, but I kind of want to make sure none of the DNA from this album makes it on to other albums.

I feel like Bowie just gets a pass. He does have some great albums, and he is great - he even can create hits upon demand... none of all that is evident on this album. Yes, Bowie, you are great. This album is the like the unrelated jobs you had that you only keep on your resume to avoid uncomfortable time gaps in your timeline.

The New Tango? I was not super familiar with the old one. As musically sophisticated as this album is, it inspires no love for Tango music, or even a slight body movement toward doing the Tango on the dance floor.

It is undenable that Jefferson Airplane played an important and pivotal role in solidifying psychadelic rock in the 60s. And because of this, I was looking forward to exploring their music a little more. It isn't bad, but this is one of those rare occurrences where the known singles from the album stand out entirely of what's memorable and important for this band. I did enjoy some of the other tracks, but in terms of quality and impact, I didn't find much here. Finally, it is hard to take Grace Slick seriously when you have the Jefferson Starship garbage mingling in your head.

This album is like sitting in on the rehearsal for multiple great albums. There are no standout singles or great songs that define the greatness of 1967, but in these songs and this album are the elements of multiple great albums to come. Neil Young, CSN & Y, members of Crazy Horse, and more. And it works. There is just the overwhelming sense that you are witnessing solid artists collaborating and molding into their next expressions. Maybe it isn't most notable album of 1967, but it shares the same signs that there are great things to come.

This album is an interesting mash-up of psychedelic pop sounds with some interesting techno flourishes and call backs to the 60s, but ultimately it lacks what made that time period so vital; a righteous cause. These guys are certainly talented, and the album did get a little better for me as it progressed, but in the end, I just wanted to go back and listen to better music.

Man. 1967. For crying out loud. I can't imagine living in a time with the volume of incredible music being released. What a fabulous album. There are very few artists who can generate so much power track to track with basically three instruments. I know a lot of technical work was done on the back end to fill things out, but the work of all three musicians in amazing. This album feels more like a greatest hits album than a debut, and at the same time, even lesser tracks soar. Rumor has it that they wanted to include a cover of "Like A Rolling Stone" on this album as they were performing it live. As much as I would love to hear it, this album does just fine all on its own. A masterpiece.

Try as I might, I just couldn't find anything really special about this album. It certainly sounded like the 90s, but without any resonant nostalgia or identifying hook, statement, or... connection. The music is not bad. At points it is pretty good, however, it is unremarkable. In other words, I can't imagine playing the Copper Blue card in any discussion of 90's music, and that feels odd.

Oh, wow! What a time in history to have rage and rebellion sound so good. I really enjoyed this album. While I have heard it before - multiple listens, it just hit me with fresh delight. It doesn't sustain across the whole album, but because it is so strong in the first half, I am happy to go along. And I feel that if Mick and Joe called and asked me to join in the revolution, I would jump! (this is saying something for a scrawny 50 something guy like me).

I am intrigued by this album. It is not really in my wheelhouse, but I did enjoy listening to it. My greater issue is including an album from 2020 on this list. I will have to check-in on the album here and again to see if it sustains over the years, but I can happily say that that doesn't bother me at all. Maybe it will grow on me.

Peter Gabriel has always been somewhat of an enigma to me. From the early Genesis stuff and early 80s work, I never really got him. But this album is fantastic. Easily his most accessible and commercial albums, he gets the absolute most of out 80s production values while exploring a wide range of subjects. From the bombastic and cautionary "Big Time" to the introspective self doubt in "Hear that Voice Again" and need for love in "Mercy Street" navigates complex topics with grace, power, and care at the same time. Look past the hits and enjoy this Lanois produced gem.

These guys feel like the middle child in the family of the Sex Pistols and the Clash. Sure, they are rebellious and angry, but not that angry. They are more technical and to themselves and happy not be front and center among their siblings.

Four tracks clocking it an 45 minutes. Pure soul music and musically complex and groovy at the same time. I have nothing but respect for this album. From the twelve minute re-imagining of Burt Bacharach's "Walk On By" to the anecdotal "By the Time I Get to Phoenix," this album feels like comfort food without being filling. While I enjoyed the listen, I didn't want to get up afterwards. I was happy to continue lying there, wondering if I would ever feel like moving again. I guess that is contemplative.

This album took several turns from the over-the-top grinding rock assault tracks, to alt-rock hit maker, to quirky experiment, and then more and more of the same. Somehow, in the end, it really impressed me more than I expected. I got a very distinctive early Wilco-vibe at its best, and as it progressed, I was kind of sold. I don't know how I missed this in the nineties, but I was glad to get it here. It may be pushing it a little, but listening to this on the 101 on the CA coast on a beautiful day, pushes this to a 4 for me. I guess I'm ready for a range life.

What to do with the Pixies. I always want to like them, but I just don't get them. I recognize that it is me. Many ingredients are there for a great band, intelligent musicianship, strong sound, quirky and poetic lyrics, etc. I can't even say that they are missing something. They just don't resonate well with me. I did find this album more even as a whole than their other albums, but evenness didn't do it for me. Plus, it lacked a strong, breakout track for me. I will always give them a chance, but every time I do, I am surprised at how hard it is for me to connect with this band (despite "Where is my mind" being an amazing song by them).

It's jangly brit-pop from the 90s that is pretty good. If it suffers, it suffers from its time more than anything else. There is just an empty aimlessness of the 90s that keeps the music from being truly relevant. Still, it rocks musically, and the band is fun enough to make the apathy of the 90s sound a little better that they were. I gave them a 3 on a previous incarnation of the list, but despite everything, I found myself enjoying this album more than I remembered. So, I'm pushing to a 4. Good job, Supergrass.

What a curve ball. Hole is generally more assaulting to the ears, so I expected something a little more edgy than this foray into alt-pop. It was enjoyable, but I kept feeling like it was a ploy and at any moment it would go off the rails. I enjoyed it, but unsure of what to make of it. Alt-pop Hole seems a little inauthentic. Walking away cautiouslt

I love Funk, and I was looking forward to this one. Bookended by some rather lengthy tracks, the album is more accessible and enjoyable in the middle. I’m guessing I need to spend more time with this one to appreciate it more fully!

I have a great deal of respect for large bands. Whether it be classical orchestra, jazz bands, or even larger rock bands, there is something magical about talented musicians feeding off one another to create vital, transformative, infectious compositions or improvisations performances. I have been looking forward to this album for the express purpose of witnessing greatness (years ago, I had a Chicago greatest hits tape that had me somewhat prepared). And in many ways, the band and the album delivers. The big band sound is beautiful and it works for the most part. But I felt that they had trouble sustaining greatness on the album. It's as if the band itself doesn't believe their work is sustainable. But instead of working to convince me of their value, they give us "Free Form Guitar." an inexplicably lengthy and tedious affair. All in all, I just started losing enthusiasm by the note. Sadly, I am convinced that though this band is super talented and generates the occasional hit, it proves tedious.

A rare first album that really feels incomplete or in progress with the exception of the two breakout singles; Breakdown and American Girl. Both are great songs, but American Girl closes out the album with a strong indication that there is more to come from this band. If I were hearing this at the time, I think this would be enough to make me want to hear more... although, I don't think he really comes into his own until the 90s.

Who would have thought that The Damned could have so much fun! I am not sure what they bring to the punk genre other than a little bit more of a sense of irony and fun, but they are a tight band that delivers a nice entry into the punk world. I haven't heard them before, but I liked the album.

These guys could and should be in the conversation with Sex Pistols, The Clash, and any number of more recognized staples of the punk scene in the late 70s. While not as bombastic, their work is every bit as sophisticated and pointed. And it is even a bit more accessible. This is a really fun album and again makes me wish I had been more aware of these artists in the late 70s and early 80s. It would have also helped if I had been flush with cash to buy these albums as well.

This is a good album, and it is certainly good R&B, but in terms of content and connection it seems a little too personal to me. For fans of his, this might be interesting and helpful, but as a general fan of music, it didn't draw me in as I expected from his peerless reputation.

This was a very uneven album for me, but when it was on, it was quite good. Probably the most introspective rap album I have heard so far, and the touch of having his dad chime in at the end was a very cool touch (in addition to being a good track). I may be wrong, but this is probably the most mature rap album I've come across on the list. It doesn't pull punches, but softens in good places and ways that don't compromise his experiences.

It is really hard to take this guy seriously. His adolescent take on the rock and roll lifestyle borders on parody. He's like a gutter UK version of Randy Newman with a one-note refrain. I suppose the album is on the list because of the funky groove of some of the songs, but the music stands out mostly because Ian's lazy singing (if you can call it that). Honestly, it doesn't do much for me. His few turns of phrase that catch your ear feel lucky rather than clever. Not impressed.

This is excellent punk music that also feels like it would be the perfect soundtrack for a movie that can't afford more well known/established punk rock. The quality is there, but the lyrics and even sound of the lead singer seem like they're not quite ready for prime time.

It is clear that Janis is the driving force here. She shines, and I think that the rest of the band is happy to come along for the ride.

I remember hearing about this band in the 90s, and I wish I had heard this album at the time. It doesn't sound like the 90s to me at all, and that is a good thing. It is a weird fusion between early 80s alt rock with a little bit of 60's alt psychedelic rock. At times it charms, but it also drifts a little into the experimental. By the end, I was ready to move on, however, it was a worthwhile venture into something from the 90s that didn't suffer too much from the grunge influences.

At one point in her career, Tina Turners’s legs were insured at over a million dollars. I’m not even sure what it means, but it is more interesting than most of this album. Like most 80’s era comebacks, great talent is muddled by 80’s production value. I feel like Tina has a lot to say that is valuable and good, but I wish that the comeback had allowed for more of her talent to be highlighted.

I haven't seen the movie. For better or worse, this means I can only truly evaluate this in terms of the music alone... which is basically ambient electronica. Of course, this is likely perfect for the film. There is so much to say about the problems of this album being on the list, but I will simply say, if this album deserves to be on this list, it should at least inspire me to see the movie. It didn't. Out of respect, I normally rate music that I don't get a 3. In protest to this soundtrack being on the list, I am giving it a 2.

I was surprised to learn of the grunge roots of this band. To me, they were sound more straight rock and roll to me with a toe or two in the alt category. Musically fun and even complex at times, the album sounds really good. However, there was something about the vocals/vocalist that just didn't seem to match the music. It felt almost like the Connells lead singer had joined up with a harder rock band. Worth the listen, for sure, but this album didn't make me want to hear more.

This is a real rocket. Sound wise, this album is a loot of fun. However, I struggled maintaining interest as the album progressed. Stewart has energy, but couldn’t maintain my interest lyrically. For me, it was like going to a loud party where you don’t get the people there. So, I left wondering what it would take to go back. Still wondering. Musically, I’d give this a 3 easily, but I reviewed it earlier and gave a 2. Based on the 2nd listen, nothing compelled me to change.

Tom Waits as a quirky jazz lounge singer. What more could you ask for? The band is super tight, and Tom is at his gregarious and saucy best. I am not sure how much I'll put it in the rotation, as it does seem a little like a stand alone episode in a great series. Still, Tom is always engaging and an interesting listen.

This is the first album I've listened to in a long time where the members of the band (whatever the manifestion) are completely comfortable with themselves and the music they are creating. There is no pretense. The composition, songwriting, performance all seem completely organic. Image the Beatles without the weight and pressure of expectation. And the music is fantastic. It is not filled with singles with hooks and riffs, it is just artistry on display. They're not playing for the record company, the charts, or even their fans. They are just in the artistic zone, playing music for the joy of it. I highly recommend this album. First five in too long.

80s rock also occurred in New Zealand, and this album proves it. I am wondering if it occurred in Iceland as well. Time will tell.

This is a really fun, energetic, and joyful album. It arrives at the right time, and you wonder if they had been from the UK, could they have kept it together and made that transition to solid rock band. But don't let their lack of future development keep you from enjoying this little gem. Like its peers, it has its share of familiar tunes, however, there are some great lesser known tracks that delight. Boss Hoss and Walking the Dog are still ringing in my ears. Great stuff.

Listening to this album put me on edge. It is great music, but I almost am side-eyed the entire time. It's like someone told Captain Beefheart in advanced music composition class that he didn't understand Rock and Roll, and he made an album as a counter argument. While it isn't great rock and roll, it is a fabulous approximation by someone who clearly knows his craft well. Kind of like Mozart being asked to play something for the king, and Mozart playing down to him. It isn't arrogant or patronizing. Quite the opposite. It's like you're listening to a musical craftsman who you get the feeling could do so much more, if the occasion called for it. In so many ways it is refreshing and inspiring. Even if it feels a bit self aware, Captain delivers a tight, fun, provocative album of sex, drugs, and rock and roll. Not mired in excess but with the discipline of someone very much in control and in touch with their craft!

This is one clear examples of why there was a lot of excitement for music at the dawn of the 80s. Not quite punk or new wave, this album feels like one of the signs pointing to the alternative rock genre. Twangy, fun, and not over produced. A pleasant surprise!

My head hurts. I’m sure this is fabulous head-banging material, but I just find it annoying. If the lyrics happen to be compelling, I couldn’t enjoy them because of the tone. Couldn’t wait for this to end. I don’t know a thing about Hammersmith, but if you can sleep there it means Motörhead has stopped playing. It must be a lovely place.

Bonnie Raitt has a difficult story, but a great voice. I am glad this record did so well for her and helped establish herself as an artist. But between the genre and the 80’s horrid production sound toolkit, I couldn’t buy in.

I was never a Cure fan back in the day, but I really enjoyed this album. I love these early 80s albums that weren’t driven by hit singles or awash with that 80s sound. This album creates and follows a vibe that methodically moves to its crescendo with 17 Seconds closing it out. I feel like I just witnessed a band in the early stages of finding its voice. And it was a cool if brooding experience!

The Modern Lovers. What a fabulous Album. Even the most cursory of historical dives on this band tells the story of there inevitable disbanding before they even had a chance to explode. However, no amount of troubled history can overshadow the amazing work that is this album. Track to track, it is a tour-de-force of Pre-Punk proclamations for those not yet ready to rebel. The vide is full of energy and attitude that invites you into all the familiar struggles of youth and reminds even those of us that are older, that we should have taken them all more seriously than we did. Yet, even the album arrives after its own time. Do yourself a favor and stop what you're doing, clear the room that has the best sound system you own, and listen to this album! You'll be glad you did, and you'll lament that this is all we really get from the Modern Lovers.

1967 seems a little early for a nostalgia album, but that is what this feels like. I don't really see the Young Rascals as R&B, but more like a band trying it on for size. They do a good job, and all the singles are serviceable, but they are hardly groundbreaking standards. And for 1967, this seems like a band capturing lightning in a bottle rather than breaking new ground.

I am sure that there are people out there who can make a compelling argument for this album. I am also sure that it, like this album will fall on my deaf ears. There is just no appeal for this kind of sonic and philosophical assault. Moving right along.

This one hurts. It sounded great at the outset, and I really liked their next album. This album suffers from not really having much good to say. As a result, the latter part of the album kind of feels like they are a one trick pony, where the trick isn't so compelling. I think they got some things figured out by 2009, but I just couldn't keep up my interest in this one.

This is a fun and uneven album. It feels like an art project by your gifted friend. Technically, it is very good and fun, but you're not quite sure your friend is really committed to it. It is almost like an affectation or distraction rather than a logical progressive step by an accomplished artist.

This is my 356th (one year) album! Happy Anniversary to me. Also, Nina Simone is fantastic. Her voice is compelling, the content is poignant and relevant even today, and the music is very strong. It is a little too old for my taste, but at the same time, the quality is undeniable. I'm stuck at 4.5 or 5, but just on vocal presence, I am leaning high!

I don't know much about jazz, but I really enjoyed this album. I could easily be argued into a higher score, but my lack of expertise here, is keeping me grounded. If you're a jazz fan, you already know of the album and probably could school me on the finer points. As a novice, I did enjoy it, though!

This is where it all comes together for me and Bowie. I have had a lot of his albums on 1001 that have left me scratching my head, but this is a fantastic album! Here you have the culmination of Bowie, his personas, themes, sound, and even his grappling with his own view of art, and it just works. Hunky Dory is more singles, but this album demands you take it as the whole. If you do, you won't be disappointed.

I can feel the Illinoise! And it is still resonating in my soul after listening to it for the first time in years. There are few artists and albums that immediately feel like they are both engaging and beyond you at the same time. Stevens' songs are compelling, moving, and will challenge your thinking, philosophy, and faith. And he does this with gentleness and big symphonic intimacy that allows you to accept the challenge in a way that is more contemplative than off-putting. There is no sermon, but there is an altar call of sorts... the kind that compels you to respond!

Jeff Beck, like many members of the Yarbirds, is insanely talented. And the band he assembles for his solo effort is also fantastic. Even Rod Stewart shines at times. Still, despite all the positives, it doesn't sustain. This is a good album, and I am glad it is on the list, but even listening to it, you know it won't hold. I think even Jeff Beck knows it won't hold up. It is almost like these songs are just excuses for Jeff Beck's guitar solos.

This album feels like the out/alt takes of mythical greater album. It isn't that the album isn't good. It is. It is masterfully produced by Brian Eno. It has some solid tracks, but it is just quirky enough to make you feel like there is something better out there that built upon this album.

Is it wrong to call Joy Division mature punk. This is a great album that has all the signs of defiance and anti-establishment rebellion but tempers the delivery and creates a really interesting sound. The 80s might not have the best reputation as a musical decade, but the early 80s has some real gems! This is one of them.

Orange Juice is an interesting band with an interesting sound but pretty pedestrian in terms of real contribution to the genre and era. If there is a good reason to include them on the list it isn’t readily apparent to me.

As a 50+ year old, I just can’t take someone yelling at me for 22 minutes.

This album makes me feel like I'm five years old, riding in the center of the bench seat of an old car without seatbelts. All I can think about is how to change the station without getting in trouble. It's not bad music, but the feeling that I need to move as quickly as possible to better music is palpable.

One of the few cases where later music from the band is just plain better. This is a good album, although thematically it feels like a forced 2nd draft full of good ideas not quite tied together completely. I didn’t mind, though. There is wry, suburban commentary that is witty rather than preachy, and the songs are fun and interesting.

This doesn't seem like a first album. The music is so clean, tight, and captivating in a such a melodramatic way, it just seems impossible that this is a first effort. Each track is instrumentally dense, yet almost everyone has their chance to shine from track to track. The lyrics are sometimes haunting, contemplative, or even witty, but they are always poetic and pushing you beyond a casual listen. This is the first album in a while where I looked up in shock when there were no more tracks to enjoy. Really fun album!

Neil Young and Crazy Horse are amazing. In seven songs they break out rock standards, anthems, ballads, laments, and country. And they make it seem effortless. If you think about it too much, you may start to wonder how it fits together. So, don't. Just hit repeat and enjoy another play through. It moved my rating from a 4 to a 5, and my respect for Neil continues to grow and grow!

More yelling, but more importantly, Offspring feels like a band created by a marketing department trying to capitalize on the popularity of grunge rather than being a band born out of it. Interesting hooks at times, but ultimately unconvincing.

I don't believe this album should be on the list. First, because 2018 is too recent to determine appropriate significance. Second, because even without enough time, it has no staying power. So pleasant, it is offensive.

I will easily grant that the vibe and overall sound of this album is very well done, and that it has great production value for the 80s. However, it feels more like an ambient track than something I would be drawn to listen to in any kind of regular rotation.

I would say this is a grand 'ol' tour that feels more like a nostalgia piece. I am not a big fan of country, but somehow it seems more palatable as a slice of history. Still can't embrace it wholeheartedly.

I had heard of Emmylou Harris, but flinched when I saw "country" as the genre. However, I was pleasantly surprised. If all country were more like this, I probably would be more of a fan. She's an engaging storyteller and songwriter, and while the music suffers at time to some dated production value, I didn't mind. Really solid album with some standout tracks.

This is a vast and ambitious album that features Julian Cope as a Willy Wonka of composition taking you through his musical factory. There are lots of treats, but you have a quirky guide that sometimes gets lost and distracted by his own vision. There are vibes of Elvis Costello and even Leonard Cohen, and when the tracks are good, they are really good and translate well. But even when the tracks aren't quite as accessible, you get the feeling that Cope bought in 100%. This makes it all very listenable and memorable.

This album is the soundtrack for every soul-sick cowboy haunted by the past and his own poor choices. And you're unsure at the end whether he's found redemption or an empty church. There are no heroes, only villains and victims in the old south/west.

This album is intriguing. Listening to it, I felt like I was in the middle of New Orleans Neo Noir film trying to solve a crime nobody wanted to take the time to solve. And I am working extra hard because I don't know French, Cajun, or any blend enough to be helpful. I am enjoying listening for clues I'll never get. Music and production value are amazing. Bottom line, is this is exactly the kind of unique album that makes this list and process so valuable.

Tedious! More like Kid Schlock!

Clearly a tight, quality band. They are a more mature voice in the grunge movement, and that is a good thing. They have traded a little angst with some more focused commentary, and it works for the most part. The singles stand out as good signature tracks, but the rest lacks the punch of its peers' grumpier tracks. They seem to have it to together in life to be so angry.

This is glorious 80's hair band rock and roll. Catchy and fun while not afraid to belt out some over the top exhortations to the brighter side of sex, drugs, and glam rock. It is hard to navigate between nostalgia and concrete critique, so I'll just say, give it a listen. It is a fun and wild ride you won't regret, but probably won't revisit very often.

I have a tremendous amount of respect for Van Morrison. He has great presence and demands your attention. This album doesn't have any real stand out singles or signature tracks, it is like one of those Saturday afternoon movies where no matter where you are in the story, when you see it, you stop and watch all the way to the end.

Even with their first album, you probably need a recreational drug to make sense of it all. At this point in their career, even OTC Benadryl might do the trick. All the signs and sounds of greatness are there. Yet, even without putting it all together, the album is strong. I would love to have tracked their progress linearly. They clearly have broken ground for a new wall!

This is totally unfair, but my immediate reaction to this was that I didn't realize AI was around in 1991. World Electronica is a gateway phrase to mediocrity. It sounds fine, if you're into it, but it could have been generic library music, and I wouldn't have known the difference.

This is like the bonus Queen disc you would get if you bought one of their greater albums. All really good material, but not on the same level as A Night at the Opera or Queen II. This is an example of an album being on the list because of one great song "Killer Queen" and no bad songs to take it back off the list. As good as it is, it feels standard Queen to me.

A more brooding, contemplative Coldplay without the star power.

The challenge with this album is that it doesn't make a convincing case for its own genre. Musically, its fine, but as I develop a stronger appreciation for R&B, I don't get why it is special.

Great... easy listening. Pass for me.

I just don't understand The Bee Gees. The family glee club graduated with history degrees floundered around and kept getting lucky with an occasional hit and then flourished with... disco??!?! This album is very well produced, and lyrically intriguing, but it is hard to imagine how they remained in the music business with this model.

This album is great in that it covers such a wide range of Neil Young's iterations. You have the solo acoustic Neil, the electric Neil, the earthy Neil and the cosmic Neil all in one gutsy performance. I still like his studio albums better, but it is a great view of the artist in action.

This might be the most sophisticated, jazz-infused, pop album I have heard. I loved the vocals, production value, instrumentation... it simply has a tight, fun vide to it. Quite a surprise since I only know them from their hit, "Get Together." Every track on this album is better than that one.

Ironically, this album is also on the 1001 albums you must unlisted to before you die (unless you work for the now defunct Radio Shack, and you are just testing audio gear).

Better than the Virgin Suicides soundtrack, and I think this rightly reflects what is good and strong about the band. Nice vibe and groove for its genre. I hate to admit it, but “Sexy Boy” (single) is a fun track.

This album walks a fine line between easy listening and muzak. It is wholly unremarkable. Nothing bad, nothing offensive, and nothing memorable (not that those are the things needed to make something memorable).

I am a big fan of Latin/Salsa, but I don’t know how this stands out. Tito Puente is more traditional and a lot more fun. This had a little bit of cringy disco on a couple of tracks, but was great at times.

This album is delight from the first notes of Suite: Judy Blue Eyes all the way to the end. And even though the album is a little uneven, it feels right, with the peaks hitting throughout at just the right moments. And, oh, the harmonies!

80s production style almost killed this for me out of the gate, but Cohen's pure talent kept me listening. The storytelling, the writing, and the command of his literal and musical voice transcends the limits of this era. So, so good. Be patient and be amazed!

It is hard not to love The Mamas & The Papas! There is just a certain charm to their combined voices that makes you smile at the much more innocent side of the sixties.

This album is mystifying in the best way. The tracks are all strong and catchy and at the same time indistinguishable. The Davies make this album seem casual, as if they aren't even trying, while they capture your soul and have you singing right along with them. I don't know half of the people referenced in "Mr. Churchill says," but I bought in thoroughly. Absolutely brilliant album.

This album needs a pump. This is paint by numbers pop metal by a band that should be better. To be fair, I am not a fan of Aerosmith, but this album will not win an on the fence listener at all. Pass.

These guys feel like Replacements. The music, sound, and overall vibe are really good, but they don't inspire great investment. Still, you kind of think that if they grew up a little, polished up their writing, they might be great.

Take rock band, add jazz, and watch your enjoyment slowly rot away to boredom. The third track was tolerable for two minutes, and then I realized that there were 15 more minutes. I am completely confident that there are good reasons for this album to be on the list, but I can't see them because I fall asleep before I can form a coherent argument against it.

Traditional, world jazz, that evokes a happier festive time. It gets even better if I imagine myself sitting in plaza square in Cuba circa 1957, on a very flexible tourist visa while flush with cash.

A meandering album that has a lot of charm. I expected so much more based on Cale's connection with the Velvet Underground, and though the album was much different than I expected, it didn't disappointing at all. The full orchestral pop-ness of the album actually caught me off guard and drew me in quickly. Lyrically it was quirky and poetic. I really enjoyed this.

In my imagination, Fairport ceased operation after Dylan went electric. So, it is awesome to hear this album and hear and feel the strength of Liege and Lief's performance. It is a super solid folk performance, and I will certainly give this multiple listens.

Chamber Pop? Really? I mean, I can appreciate a good sub-genre now and again, but this just isn't one of those times. It is an inexplicable combination of The Smiths/Morrissey (brilliant) and 70's mediocre singer/songwriter constructs (Harry Nilsson et al - not brilliant) to greater negative effect. It's not that it is bad or unlistenable, it is just wrong. It reminds me of a great quote from Jurassic Park when talking about the irresponsible science around growing dinosaur... "you were too busy asking whether on not you could instead of asking wether you should."

It is hard to talk about how good the Beatles are and feel like any kind of justice has been done. I personally have argued that this is their best, but I am never sure. All I can say is that this album is a 5/5 with unflinching confidence. Right alongside almost every single Beatle album ever produced (Magical Mystery Tour and Let it Be slightly faltering only because they weren't official albums but pieces of different projects). Great Great Great album! I had been on a Beatles run through lately so I have had a recent listen. Still shaken by Tomorrow Never Knows, Eleanor Rigby, For No One, She Said, She Said... and every song on the album. If you're inclined, go ahead and add Paperback Writer and Rain to the album. You won't be sad about it.

This is an engaging, compelling, and interesting album. I am an almost 60 year old white guy, but this album really worked for me. At times, I didn't feel like I was the intended audience, but at other times, I felt that it was speaking directly to me. Musically, it was very well done. I don't have the vocabulary to explain it all, but its empirical value is evident. Well done.

This is a very interesting albums with solid tracks and some misses. I'm rounding up from three (3) to four (4) based on a degree of difficulty. I always thought of her more as an actor/model/character over a musical artist, and in the wake of a pretty crazy lifestyle emerges with a very solid album. I was crazy about her take on Working Class Hero (Lennon), but it's better than most Beatle/former Beatle covers. I don't usually single out tracks in album discussion, but Guilt was my favorite. This was a surprise for me.

So, you can create disco in 2005! Bravo, I guess. The music is enjoyable, but I didn't rally behind this too much. The intrigue of their take on the genre sent me back rather than propel me forward. Still, it was enjoyable to listen to.

This album was a delightful surprise. The production value and sound hit a real sweet spot that reminded me of Crowded House, albeit a little less pop oriented. Though the album doesn't end as strongly as it begins, it maintains the overall vibe and interest. I wish I had discovered this back in the day.

The Byrds are such an interesting band. They are synonymous with the psychedelic music scene, have well known singles (original and Dylan covers alike), and furthered artists careers for decades to come. Their sound on this album is completely recognizable and has all of the signatures that they are known for, and yet, it still feels a little enigmatic to me. Perhaps, they aren't an "album" band. The music is great, but hard to place in their overall canon. 8 Miles High still sounds fantastic, and that alone is enough secure the album's place on the list!

This album reminded me of how much I don't lie Metal (speed metal, psychobilly, or industrial metal, or any of the other shades of metal). That said, I do appreciate the production value and the creative approach to blending media. It is elaborately executed and sounds great, and it is interesting to compare this the emergent grunge bands. I just wish I enjoyed the genre more.

The White Stripes are amazing. I would have loved to have attended a live performance back in the day, and I am still amazed at the amount of sound and power they generate with the two of them. The range of this album is also impressive from hard, driving rock to folk ballad, they impress and command your attention. Go ahead and dial in, you will hear new things every time you listen.

Heavy Metal is not my thing... generally. This album, however, is such a bright spot for metal in the 1980s. It harkens back to Rock's origins in the late 60s and early 70s with the big sound of the 80s. It's witty and accessible without compromise. The songs go beyond hooks without losing a sense of playfulness and fun. This was a surprise as I missed this one back in the 80s when it arrived. Shame on me.

Wow. There is a lot going on with this album. Apple calls it Alternative, but is more of a hardcore mashup of genres (Ska, Punk, Metal, etc.) I actually appreciate the punk side, and not all of the tracks are so overt. There are some more subtle tracks that are very interesting like Secret 77, that feel more traditionally alternative rock. I don't know much about the band, but you can feel them pushing themselves and blending genres in compelling ways. Interesting.

I really love the haunting nature of Welch's voice, and the tone and storytelling on this album is captivating. The scaled down production actually makes the songs bigger. This album could be the soundtrack for any great Southern Gothic Novel adapted for film. In fact, after listening to it straight through, I felt like I had just read a novel - the kind of novel that won't easily let you put it down even when you've finished it.

This is a solid contemplative pop album. I like the vocal duo, but their strength is in the strong, deep, brooding vibe they create. Not a lot of hooks or clever lines, but they hold your attention with their sound. At times it feels borderline ambient, but you still get the impression that even in those moments, they are intentional.

This album is an enigma to me. It fits squarely within The Bee Gees pre-disco canon, and while they aspire to greatness, they are unable to attain it. They had to wait for disco where their mediocrity could save them. It does give me a better appreciation for disco, and on that note, John Travolta should be the most grateful man in the world.

I would call this album anachronistically good. Hats off to Brian and crew to produce music that sounds like The Beach Boys and only really misses the mark because it isn't The Beach Boys. It is a good alternative, but in reality, it Is more alt Beach Boys than an example of unrealized Beach Boy material/vision. To me, it delivered in the same way a Beatles reunion with Julian Lennon filling in for John would have delivered. (this was actually floated for a few minutes when Julian had his 15 minutes in the 80s). In the case of the latter, I am glad it didn't happen. I am glad Smile happened, if only to give Brian Wilson some resolution.

I remember the name Simply Red more than I remember the actual music, so I was surprised to hear these soulful, jazzy tracks. The album avoids many of the typical 80's production sound traps, but at the same time, I am not sure how much it really stands out. Lyrically, the album is strong, and I get the impression that putting together this album was more of an art project. That said, it comes across solid enough with strong exhortations and lessons stronger than the average pop mantras.

This is the grooviest world music I have heard so far on the 1001 list. I am not sure what specific aspects of the album make it great, but I enjoyed the overall vibe. It seemed like a late 70's soundtrack in a good way. Quite fun.

This is a really good album. I love how Paul Weller breaks into 92, in the middle of Grunge, with a folk album that is more alt than pop, and has a nice psychedelic rock underpinning. I love how he moves between solid folk/rock tracks and near anthems with control. He is strong lyrically, and dares you to engage with the narrators of his songs. I don't know a whole lot about his career, but he sticks the landing with Wild Wood and has fun doing it.

I am not sure that what Jon Spencer explodes is Blues. This is a raw, garage band style, album but it doesn't really sound like the blues to me. It is a classic case of energy and power without soul, and if blues lacks soul, what is the point.

I love the albums on this list that remind me of the good of the 1980s, and while I am not sure this is the best New Order album, it sounds great! It has depth, heart, and scope. Most of all, it captures the rebelliousness of the 80s without whining or feeling over the top. The first half is stronger than the second, but it all sounds good. Hats off to the boys from Manchester!

I didn't remember David Gray at all, and I was kind of on the fence about the album as it started, but it really came around for me. I recognized Babylon, and dialed in quickly. This is a good, strong album and worthy of your attention. Apple Music calls it "Rock" but it really is almost Alternative folk. No matter where it falls in terms of genre, David is an excellent songwriter and musician. Don't pass this one by!

This is another one of those early 80's albums that I can't believe I missed. I loved the wit and bombastic energy on this album, and while I am not sure what they are really about, it is hard to argue against their raucous vibe. This is kind of like the funny cousin of Def Leopard that doesn't take itself too seriously, but also dives into the music with overt intensity.

This album confirms my number 1 musical truth: the only way country music is tolerable is when it is written and performed by non country artists. Lang does an amazing job of capturing the heart of good old country music. It isn't as bold at Nashville Skyline, but it is a treat. I don't believe I'll return much to this (mostly due to my feelings toward the genre), but I would rank this up there with the greats of the genre.

For the most part, I really enjoyed this album. For me, the explicit nature of the music grows weary on me, and I am grateful that the album sort of moves between the graphic and the celebratory. Mostly, I find Cee-Lo and many of his guests extremely talented and the music is creative, witty, and charming in a way. Cee-Lo sometimes seems like he has a bit of a messianic complex, but I am not sure he buys it.

I owned this album in 1985... and played the grooves off of it. I stand behind the fact that the album is well written, thematically strong, and musically interesting, but I also hold it up as an example of solid 80s pop. While I can't easily separate my nostalgic enthusiasm for the album, I also don't want to. I would rather just salute the members of a-ha and celebrate this album for what it is, great music. I will grant that the production value of the album is dated, but their acoustic version of Take on Me a few years back reminded me that at their core, a-ha was really making good music in spite of its era's constraints. Give it a listen!

The only thing negative to say about this album is that the boy making this album is not at all badly drawn. This is a strong album. I was immediately intrigued by the sound and tone. It is dramatic and quirky, and as I listened, I felt that I was hearing the soundtrack of a movie or a series of short films that need to be made. Imagine a much less pretentious Sufjan Stevens and enjoy the music!

And who's buying this album... not me! I am not entirely against heavy metal as a genre, but is just something empty about the fews years between hair bands and grunge that feels more like the death rattle of metal than a step forward. Pass.

In many ways, this is the perfect follow up to What's Going On. It is like Marvin was out tackling the social issues all day and now longs for intimacy and love. The music and vibe are great, but it is hard to know whether he is really looking for, talking about, and pursing true love or just release. And if It is latter, then both relationship and social justice are marginalized. It sounds good either way, and that brings up other questions.

It doesn't get any better than the title track for Al Green's "Let's Stay Together." The rest of the album is good, but nothing like the single. And it's enough to put this album on the list. the song is that perfection!

It is hard to figure why I like this album so much. It is certainly more new wave, punk, alternative and that is a big plus for me. However, the writing is less convincing. I feel like Harry is playing the part of a rock star rather than being a rock star. She is good at it, though, and so she has my respect. Band is solid, too!

This was a musical time capsule for me. The only think missing was me tuning my radio to find the signal as the first song starts to play. The music is good, and it transports me to a late 70's classic rock band kind of place. I don't think this band was going for nostalgia, I just think that this take on the genre is in their bones. While I can't really tease out hits (not sure they had any), the whole album rings true. I wish they had garnered more recognition when they hit the scene.

This feels like outtakes and demos that Beck would use as background to actual songs with lyrics. Adamson's talent is undeniable. He is creative and innovative, but this feels more like a sample of musical ideas than songs. The ideas are good and worth exploring, but I don't know how often I'd sit down to listen to them.

Significant brooding Bowie vibe, run through the 80's music production toolkit. It isn't bad. In fact, it grew on me... a little. It just doesn't ever really take off. As a result, the commentary comes off as just grumpy.

This is quite the rocker! Post Glam Rock with a dash of New Wave and Punk, and you get this over the top and melodramatic epic. Most of the time, these would be criticisms, but this band pours their heart and soul into every note, and I bought it. Even though I cringed at times during Torn Curtain, these guys were all in. It works. Love it.

I'd rather get a red rider BB gun and risk shooting my eye out than listening to this album. It's not my genre. In fact, I am not sure it still is a genre. Regardless, I got through it. It is fine, but it feels out of another time. I am sure that in its day, it was fine. Now, not so much.

I missed this band in the early 90s, and it is a shame because I enjoyed this album. They sound like a garage band that through maturity and discipline graduated to a living room band. And when they stay in that restrained groove they are at their best. The vocals and instrumentation are sharp, crisp, and groovy. I like that they dip back into a more raw garage band style, but when they settle down, they really shine.

In my opinion, Randy Newman is a musical one trick pony. Musically, it is a delightful, pleasant, and sometimes silly pony. Not a pony, you saddle up and take to engage in protests about social injustice and racism. It is hard to distinguish this album from the Toy Story soundtrack, and sadly, it made me want to go watch Toy Story again rather than think seriously about issues.

Ah, disco. What a wild time! In all honesty, this is superb disco. Not all dance tracks, but a good mix of singles that are just pure fun and others that tackle bigger issues of race, art, and the record industry. It is well done, and it works for the most part within the constraints of the genre. But it is disco. And as much as I get nostalgic and even tap my feet, I feel those limitations. A catchy and honorable effort from a troubled genre. I'll take it... today.

I had no idea who Michael Kiwanuka was when I started listening, and I have to say I was intrigued right away. In the same way Beck put an industrial, techno spin on 60's psychedelic rock with Odelay, Kiwanuka's take on 70s music is also super refreshing. He even brings in some jazz elements and creates a sound and album that develops as it goes along. Harder still to believe is this came out in 2019. So glad to come across this one.

I love this album. For all the fanfare over his electric performance months after this album is released, the work started here. A brilliant musical step forward for Dylan without disregarding or abandoning his early work. Though the newer style tracks come first, the album ends with really strong, spare folk tracks. I mean, he gives you absolutely everything on this album. Except for Maggie's Farm, the transition is almost appears technical or only on paper, yet it is real. The title is spot on. Even among the varied and progressive (for folk fans) style, Bob Dylan seems absolutely at home in the space. He confronts and reflects with ease and with grand musical effect. He is the perfect troubadour and band headliner. Amazingly, this is an appetizer. The big meal is just around the corner out on Highway 61.

This just wasn't that compelling for me. Iggy Pop comes with a strong reputation, but it seems like vague experimentation. The single bright spot was hearing/discovering China Girl on this album. Looking into it, it was co-written with Bowie. In fact, Bowie recorded a version for Let's Dance to help Iggy Pop financially. I actually really like the version on this album. A bright spot, for sure.

This is a really good album. The production value and overall sound and feel of the record - the best manifestation of Hole so far. And Love is in the groove. She also mostly strikes a good balance between over the top angerfests and softer rants. This is also the problem with the album. Toward the end, the yelling seemed repetitive to the point that I began to care less about all the things she was singing about. It is hard to take so much yelling when it takes so little to understand the trappings of fame, fortune, exploitation, drugs, abuse, egoism, sexism, etc. Granted, she is experiencing all these things with much higher definition, but such is the challenge with art.

Listening to this album is liking going through a museum for something you're not quite interested in. Everything that you see and learn is curiously intriguing, but you wonder at times whether it matters to you. I enjoy Fagen's lyrical playfulness and distinct vocals, but the real strength of the album is the music. It's way more jazz that rock and roll, which hurts it for me in the long run. Beyond the familiar singles, I am happy to return to good ol Steely Dan.

It is very strange to listen to an incredibly experimental album from a band that regularly experimented with mind-altering, recreational chemicals - or at least the genre named for the general result of those chemicals. Regardless, this album navigates the fine line of experiment and good art deftly. While it is not as accessible or groovy as the more popular psychedelic rock bands, it is quite good. In fact, it got better and better as it went along. This is a good listen!

Musically, I found this album interesting and solid. But it seems to me that the lead vocalist is just checking a box. It's as if an imposter is on vocals, and he is trying to be engaging while knowing all along he's a poser. 3/5 mostly because the music is solid.

Fantastic. Short, strong, hooky, alternative rock tracks that sound great! 28 songs in 41 minutes, and I want more. I had not heard of them prior to the list, and if you haven't either, be prepared to go on a tour of great tracks. I'm tempted to think that they end the songs so quickly based on showmanship. However, they sound solid and could go on with acclaim.

Brilliant. This is the devastated, gaunt, hobbled, and grizzled counterpart to Dylan's earlier work. It really feels like the inevitable conclusion to Bringing All Back Home, Highway 61, Blonde on Blonde trilogy. After the world has beaten all of the youthful exuberance and enthusiasm out of you, you get Time Out of Mind, and the older I get, the more it makes sense to me.