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Very cool, eclectic, always changing up the point of view. The instrumental tracks are especially interesting. It all feels a bit calculated at times, but no shade if the effect is this solid.

I think the discussion of this album as anti-capitalist is a bit overblown. Rather, to me, it is much more interesting as a plea for true feeling in an overly mechanized world. Either way, just wow. All tracks flow perfectly into one another, and yet, even after nearing 30 years of listening, there are still surprises. And where necessary, it still really rocks! There’s not a second of it that I don’t absolutely love. It usually sucks to agree with the common opinion, but here I feel it’s unavoidable.

Not as bad as I feared. The longer songs “Down By the River” and “Cowgirl in the Sand” have extended musical passages which are quite interesting. The shorter songs are a bit facile, and, of course, his voice borders on atrocious. However, even if the songs were being sung by someone with an excellent voice, I still don’t think that I’d want to hear them more than once, with the possible exception of the two longer songs.

It never used to be my favorite of the early R.E.M. offerings, because I always considered it a bit inchoate. Turns out, this just means it’s the album of theirs that’s grown the most in my estimation over the years. It’s all there already: the jangly guitars, the obscurely-literary lyrics, the deep, dark insouciance of 23-year-old genius.

It doesn’t have Zeppelin’s brilliance or Sabbath’s dark wit, and many others have far surpassed it in terms of pain & power. However, it was there at the beginning, and it still blisters.

Our guys step away from the Medieval courtly long-form style, bringing a whole album of no tracks more than about 5 minutes long. It’s a non-stop romp from start to finish, sacrificing none of their signature drama.

Knew every word of it long before I left high school. Not a false note to be found. There may be albums I’ve recommended more often, but this is the only one with a perfect record: everyone I’ve ever suggested it to, from all walks of life, has come back massively in love with it. One for the proverbial Desert Island. What “California” meant to be before it was my home, what it meant to me the twenty-two years I lived there, what it means to me now that I will never live there again…this, in itself, is the story of my life: an essay of longing.

A masterpiece of in-your-face rock. Despite an utter lack of surprise, and no matter how many thousands of times you hear these songs, it’s still and forever one of the best pump-up discs ever put together.

Relentless drum tracks, angry words, lots of energy. Punk, dance, industrial: the sound of the future to come.

Right about here, Jim & Co. hit a relentless blues groove which doesn’t let up for eighteen months until it is all over, and which represents some of the finest, and the funnest, that American rock has to offer. It’s so good that it rises above being the cliché that it can’t help avoid being. The pleasant surprise here is how lovely, how non-throw-away, the slower tracks are.

I was so prepared to hate this, but it’s lovely. Lyrics are original, thoughtful, not in the least bit twee. Production is deeply layered, much subtle use of strings and the like. Somehow it manages to seem both rich and understated at the same time. There’s much effort here, but also much artful harmony.

The perfect background beats for all endeavors of coolness. Harmonious, but pleasantly jarring at the same time. A perfect encapsulation of the mellow, chiller-than-thou spirit of the late 90s, and somehow still as fresh as a first listen.

The rock that launched a thousand yachts! Endless groove, the finest studio musicianship the 70s had to offer, and lyrics that will keep you analyzing and re-analyzing for years. As appropriate for an all-day study session as for four nights of blow (on an extended sailing trip, of course, what were you thinking?) Arguably their masterpiece, though I suppose you could say that about any one of their original 7 albums.

Postpunk without the anger, New Wave without the synthesizers, and now with Indian strings! Not too mainstream to be down, not too obscure to be relegated to cult status, riding the ideal 80s cool balance.

50,000,000 fist-pumping Middle-aged East Coast white guys can’t be wrong! Earnestness, poverty, and broken dreams never sounded quite so sexy.

Indie spirit but the soul of arena rock. Dramatic, elevating, powerful, always enjoyable. The standout tracks are among the best rock ever recorded, but there are a few too many which aren’t particularly memorable.

Chord chord chord chord chord chord chord chord chord chord chord man these guys really chord chord chord chord chord chord chord chord chord chord stick to what they know best and the melodies chord chord chord chord chord chord chord themselves are often quite pretty but the lyrics chord chord chord chord chord chord chord are the soul of jejunosity and Mr. Martin’s voice is nasal and whiny and always chord chord chord chord chord chord flat oh and ugh here comes the falsetto part chord chord chord chord chord chord chord chord chord again it all starts sounding the same and it’s really is quite a challenge getting through the chord chord chord chord chord chord chord chord chord whole album chord chord chord chord…

Elegant & angry. Rough & refined. Catchy & cacophonous. Trendsetting & timeless.

Bombastic, sultry, and delightfully un-PC. Unmistakable and unmatchable. Not every track is a banger, but most are strong, and it stands as a lovely first shot from an artist who ended up with few to take.

Smooth jamz all the way through. About half of the tracks are covers, and arguably those stand out a little bit further than the originals.

If you strip away the false trappings of free love and magical brotherhood, this is what you’re left with: passion, anger, raw emotion, and a sign of punky things to come. It’s sometimes a bit sparse, but it’s never lacking in energy.

Ok, arguably these guys didn’t necessarily do anything that The Velvets hadn’t already done. However, nobody quite took the intersection of art & noise quite to the place they did, and never with such dizzying effect. I don’t think this one is as complete as Sister or Daydream Nation, but it’s a lovely record of a band beginning to coalesce.

The lighter side of new wave. A little silly, but always bouncy, tuneful, and fun.

Beautiful, quiet, elegant. A mind in such turmoil produced music so calming.

It’s no wonder that people are still listening to these while so much of the 80s has disappeared forever: the tunes are rock solid, Morrissey’s hatred of the synthesizer has created a timeless feel, and lyrics about being young & battered still mean something to the young and formerly young.

On one hand, it’s refreshing to hear a bit of stripped-down 80s bar rock in the heart of the overwrought 70s. On the other hand, well, aside from a few exceptions, the tunes aren’t particularly memorable. Not much interesting storytelling or passion, and, on the whole, it’s all a bit facile.

The best of the 80s plus the best of the 90s, and more! Energetic, psychedelic, tuneful, boastful, aiming for the broad and the narrow, and always fun. I didn’t find this album until about 20 years ago, but in that time it has continued to grow and expand in my world, and I find something new & amazing every time I listen.

Utterly hypnotic. So smooth and soulful. Let the desert blues just wash over you…

You can trace the roots here, as if it were music for Taylor Swift’s grandma. Pleasant enough, but snooze who isn’t asking for a little more something from their music than that? Retaining the form of the blues, but with none of its bite, it all begins to sound a bit dreary, so much so that it’ll never get a second listen from me.

This album has fallen a bit in my estimation the older I’ve gotten. It’s intelligent and sophisticated, and some of the songs still mean a lot to me (“Tangled Up In Blue” “You’re Gonna Make Me Lonesome When You Go”), but, I don’t know, this far into his career, it lacks some of the energy and anger of his earlier work. These feelings are replaced with a sadness that I’m not sure I’m truly buying. And would it kill the guy to write a bridge every once in a while?

Pretty snoozy stuff, like Dylan without the wit. I don’t deny that one might find something refreshing in the simplicity, but music about how sad the artist is for being famous is always going to be a tough sell for me.

There’s a tremendous amount of artistry here, and his voice is extraordinary, and used so interestingly. At its best (“Jump Into the Fire”), it’s soulful, intelligent, Beatlesesque mastery; at its worst (yep, both “Without You” and “Coconut”), it’s some corny novelty nonsense. This is the fine line of eclectic pop.

I mean, if the Lord fully sanctions Beyoncé’s bootyliciousness, not to mention her use of crappy syncopated fake drum nonsense on just about every track, who am I to disagree? I’m not saying, dear parishioners, that there aren’t a few bangers here. However, I just don’t see myself listening to this bloated paean to avariciousness-masquerading-as-girl-power more than twice. Destiny’s Child forever! Or at least for about 18 months until Be can go single lady and dump the rest of y’all for some real dollars.

Straightforward, nothin’ but a good time rock ‘n’ roll. A fitting tribute for Bon Scott to bow out on.

I have avoided these guys for a long time, fearing some dull, twee, Tejano-y, pastiche-y nonsense. Turns out happily that I was wrong! The songs themselves, not the style, are the star of the show: tuneful, intelligent, owing every bit as much to art pop as to Southwestern folk. And with only a few exceptions (“Across The Wire”), the Tejano trappings don’t overwhelm, but provide a lovely, creative complement. The instrumental tracks are particularly tasty.

Not enough stars in the sky to rate this one. Proof that God and Satan are best friends, or at least were college roommates.

Carefully crafted love songs, plumbing the depths of the psyche and soul, set to a surprisingly successful musical amalgamation of folk and funk. Unlike most things I’ve ever listened to, and quite beautiful

The thing that really creeps me out about these guys is that they’re always writing questionable lyrics about skeevy things they’re trying to get girls to do (“When I Kissed the Teacher” indeed!), and then they get their wives to sing that stuff! It’s no wonder these marriages barely made it out of the 70s. I so badly wanted to give this one star, but, I mean, “Dancing Queen” and “Money Money Money” are decent jams. Thing is, all of ABBA’s big hits are so impossibly overplayed, they’ve become like musical wallpaper, and if I never heard any of them again, I’d never miss ‘em. Meanwhile, the album tracks are inane at best, and at worst are soppy, gloppy, ridiculous nonsense.

It doesn’t sound quite as scary as it used to, but it’s every bit as bombastic, and still completely enjoyable. Many followers owe so much to this album, and I think it still sounds better than any of ‘em. Dance metal! Ya gotta be crazy to make that work.

Psychedelic sitar jams! It’s lovely to hear some of the 60s classics raga-fied, but for me, the album really hits its stride closer to the end, with drawn-out passages and subtle changes in tempo. Stupendous.

Ah yes, my forty year hate affair with this record continues. I have hated this album passionately since it was the number one favorite at all 1980s camp socials. It never failed to make all the girls shriek. All my punk folks say that I will never truly understand punk until I can wrap myself around this album, so I have tried time and time again, and…we’re just going to have to agree to agree on this one. I mean, I get punk that is angry and passionate, and I get punk that is sarcastic and nihilistic, but I can never figure out which way they’re trying to go here. Plus, Gano’s vocals are just so flipping awful, and that stupid acoustic guitar…I guess everyone’s gotta have a most-hated album, and this one’s mine.

Artsy noise rock so intricate, it’s almost…psychedelic? They’d probably hate that. But I can listen to this one endlessly and never get tired of it and always find something new. One of very few double-length works in which I become utterly involved with every single second.

Oft imitated, never repeated, 50+ years of experimental wildness! There are some bangers here, but on the whole I always find them equal parts rocking and grating, and I always bump on the falsetto at some point as we get all the way through an album. Howsoever, I really admire these guys for being true to their ideal.

Pretty tepid stuff. I guess it proves that ripping off the Stones isn’t as easy as it looks. People love Rod Stewart’s voice, but, I don’t know, to me it’s pretty grating, to say nothing of Ronnie Lane who can barely sing a note. None of these songs have anything interesting going on musically or lyrically (except maybe the one Chuck Berry wrote), and the end result is just about the most watered-down boring blues rock I’ve ever heard.

I’m not always the biggest Zappa fan, because I can usually do without the stand-up comedy, but this one is nothing but the hottest, tastiest jams, with deeply interesting horn arrangements. I can respect why more of his work isn’t like this…but I wish it were.

It opened up a little on multiple listenings. I often like the idea of stripped-down punk like this, without thinking that the results are particularly, well, listenable or enjoyable. It’s not offensive, though, but also not particularly challenging. In the long run, I’m happy that it’s in my world, even if it’s unlikely to hold a cherished place.

At its best, it’s really smooth and groovy, but far too many tracks feature an anger or violence that just seems like a major put-on. It’s desperately desiring to be innovative, but it’s not really doing anything the Stooges hadn’t done years earlier.

From that lovely time, where, if you hit it right, you could groove just as much as you could rock. I’ve already mentioned, well, they’re not Zeppelin or Sabbath, but few are, and that’s why you hear from them less often. At the same time, it makes their straightforward approach a bit more refreshing. I bet they were good live too, in their prime.

It must be incredible to bounce down to the beach with a notebook containing lyrics to show your buddy from film class, and not have any idea that millions of people will still know these words a hundred years later. Definitely one of the magical debuts of all time. And yet…it’s likely my least favorite Doors album. We’re poised at a perfect moment in Rock History here, between an era of unforgettable singles and perfect albums, and it’s my guess that this album, to capitalize on the potential strength of its singles, was rushed just a little bit. As such, some of the material, for them, is kinda forgettable. It’s a mistake the Doors stopped making pretty quickly, because, despite how much executives likely wanted to make a quick buck here, the band knew what they had. They saw the beginning of a new age, and it’s amazing to think of this moment encapsulated, to think of listening to this album for a first time, before seeing the path that everything was eventually to take.

Let me get this straight: It’s the 60s. These guys are gonna travel to a festival show, do a lot of cocaine and heroin and hang out with a bunch of underage groupies backstage, then come out on stage to sing a song like “This Christian Life,” all about how they lost all their friends because they don’t have fun anymore, and then go right back to the drugs and groupies? And not only are all these songs total nonsense, they all sound screechy and irritating? I didn’t even like these guys when all they were known for was jangly Dylan covers, but this is really too much to be believed. It’s like some terrible marketing plan: go country, still get all the drugs and groupies, no energy needs to be spent on rocking’, and you can write even fewer songs than before! Brilliant.

Beautiful, lush, gentle. After a while, the solo piano begins to sound repetitive, and I long for the rest of the rhythm section to balance everything out. Still, gorgeous in its immediate and improvisational quality.

A bit less concise than Pink Moon, but still lush, sad, dreamy, beautiful rainy day music.

Hip hop for people who don’t like hip hop. It’s a nice sound, pleasant, musical, and lyrically there isn’t any drugging or misogyny or crime. And yet, well, it’s just not particularly biting, is it? It calls to mind the optimistic days of the first W administration, when all of us good-hearted folks knew truth from hypocrisy, and thought this feeling would last…only to learn that hypocrisy will usually win out, as it’s much more entertaining.

Way smoov renditions of some of the most classic standards. Not a whole lot of innovation here, but never hurts to be reminded of the timeless ones.

The blues at its absolute classiest; jazz at its very most captivating and essential. I’d give this one to extra-terrestrials who were coming to explode our planet and then just shrug my shoulders.

Pop that manages to sound breezy and powerful at the same time! That’s quite the trick, and it’s not hard to see why it was so popular once upon a moment. And yet, well, something about it feels a tad unessential. Liam’s voice is interesting, but it’s gets a bit wearing over a full album. And most of these tunes, if I hadn’t ever heard them again, I wouldn’t have missed them. So much from that era is oddly but magically indelible, but with the exception of “Wonderwall,” not so much this one. This album is nice, but it just doesn’t feel timeless.

I think that because these guys fall into a hole somewhere between pop, new wave, dance, and electronic, that they’re often overlooked. It’s so,e of the liveliest, most fun music I know! Perfect for partying or chilling. I’m a huge fan in general, and I think this is their masterpiece.

Positive, uplifting, colorful…and a bit dull. Seemed like a great idea in the early 00s: blending genres and believing in brotherhood and taking a stance against conservatism. Some of the experiment results here are positive, but it always feels like the total is less than the sum of its parts.

Wonder’s output between 1970 and 1980 represents the finest work of any musical artist, in any decade, certainly that I can think of. This album is note perfect. Funky, thoughtful, lush. Only Stevie could be this on-the-nose and yet have everything work so perfectly. Many consider it his masterpiece: it’s not for me, but that’s merely a matter of preference. Every moment crackles with spirit.

While I appreciate the affect Ms. Bush’s work has had on many artists I like, from Bjork to Lana, I’ve never taken to it. It never sounds lush to me in the way its supposed to. She sounds like she’s trying way too hard to convince me of her deeply felt artistic sensibilities. On the second half of this album, especially, the faux orchestral routine is almost too much to bear. Also, I abhor songs that posit that God might want to “swap our places,” or might be “a stranger on a bus.” Dumbest thing I’ve ever heard. If God exists (I know how I feel about it, but I’m not trying to convince anybody of anything), we are almost too minuscule to be of consideration, much less anyone They want to trade places with.

A pleasant surprise! Sure, it’s a bit twee, and the slow tracks tend to drag. But the best songs on this album are extraordinary: thoughtful, well executed, well produced, meaningful, and emotional. As good as the best music from its era.

Groovy and fun, with very interesting lyrics that aren’t necessarily as serious as one might think. I don’t always appreciate Kendrick’s blend of hip hop and R & B, his eclectic palate, and his tendency to digress through very long songs, but it all works together nicely. Not every second is essential, but that’s pretty common in hip hop, I would argue, when being drawn into a daily life worldview of the artist, which I think Kendrick does especially well here.

I do like some country music after all! Especially when it’s as straightforward, honest, and lovely as this. I preferred the more vocal first disc, as opposed to the more instrumental second disc, which surprised me, but I just felt the performances of all the guest singers were so strong. I don’t think the album is particularly helped by being so long, and having so many introductions and chat breaks between the songs, but I appreciate the attempt at the creation of a full document to highlight the life of the times when this was recorded.

It’s quite an achievement. On the heels of some exquisite, and some might say perfect, collections featuring long, operatic pieces built around central themes, Mr. Waters and Company continue with the idea of a central theme, but instead choose to honor isolation with a series of shorter, more eclectic pieces. It’s choppy, some moments hold up better than others, and the more musical theater-y sections always take a backseat to the simpler numbers. It’s a beautiful celebration of anger and ugliness at the heart of success, and deserves the accolades worthy of a piece of late 20th century hagiography.

The mysterious, dark lyrics are noticeable immediately. I had to listen several times for the music to open up a bit, though. Really interesting. Sometimes I feel that the sound itself isn’t particularly memorable. It’s like the anti-Oasis: whereas Oasis is light, positive, catchy, meaningless, this is darker, paranoid, and you have to dive through it.

Yes Yes Y’all! Chuck D is still one of my all-time favorite MCs and lyricists. I think it would be impossible to argue that this album has the same impact today as it once did. The beats are dope, though, and it’s still totally listenable, and once in a while the lyrics kick down to remind you that the anger is and has always been the same,

Maybe not my #1 favorite Beatles album, but it’s pretty close. All the songs are inventive and filled with great fresh details…but they’re also still just really rocking’ fun songs. Not a missed note or a missed opportunity.

Very political and personal, and very sad, yet never silly or pedantic or maudlin (which, for an album with titles like “I Am Stretched on Your Grave,” ya gotta hand it to her). It’s a high form of artistry, and these songs have stayed pleasantly stuck in my head for many a year.

The grooviest of all time! Love me some Nile & Bernard. Timeless!

Who says a funk band can’t play rock indeed? Funkadelic is Mr. Clinton’s guitar experiment, and it pays off here with perfection. So much going on. A wide range of styles, but nothing seems confused or complicated, and the masterful groove never ends. An all- time favorite.

It’s very good, smooth, clear, cool rock ‘n’ roll…but it’s just a little bit dull. Evan with multiple listens, nothing to complain about, quite enjoyable, and the best tracks are pretty fun, but nothing stands out as particularly memorable.

Very cool, eclectic, always changing up the point of view. The instrumental tracks are especially interesting. It all feels a bit calculated at times, but no shade if the effect is this solid.

Cool, eclectic, artsy New York rock ‘n’ roll. It’s taken me a long time to warm to these guys, and I’m not quite there yet, because they seem a little too cool for school, and lacking in passion and intensity. It’s like the anger is a bit of a put-on. However, this is my favorite I’ve heard of theirs yet, and even if the tunes don’t really stand out to me, it’s quite enjoyable.

I’m not much of a Beach Boys fan. I can appreciate some of their more upbeat material, and I admire their commitment to psychedelia, but I just don’t connect deeply. The harmonies are pretty, of course, at least for a little while, but that seems simply a matter of technical skill. I just don’t understand the need to revisit a whole bunch of old tunes so many years later. They’re clever tunes, but not emotionally engaging, and I woulda just left ‘em where they were. Actually, I listened to the demo sessions of the old material, and quite preferred it.

Funky genius. I wouldn’t say I know much about jazz, but I know what I love, and this is definitely it. I guess this predates some of the 70s soul jazz, which I think tends to get a bad rap for being too commercial, cool, and uncreative, but when it’s this awesome, I can’t see how any jazz lover ought complain.

Stretching the boundaries of everything that hip hop can be (especially the Love Below section), and stretching the boundaries of patience with a two hour plus running time, Atlanta’s finest nonetheless come with thoughtful banger after thoughtful banger. A timepiece of expansion, before everything seemed to start to contract again.

There are a few really solid tracks on here. But the rest, well, just kind of fades into the background. It’s hardly offensive, but it just makes so little impression. I can appreciate the stripped-down aesthetic, especially in remembering the early ‘90s, where we all strove for a way to throw off the overly-excessive ‘80s. But one would think this pretty average even from a bar band, much less given how lauded these guys were at the time.

Of course the singles here are very famous, but every album track is just as good, too. This is the hardest groove that has driven rock music for almost 60 years, and it’s easy to see why. Brilliant shifts in energy, mood, tempo.

Lupe proves that you don’t need guns, drugs, or misogyny to make hip hop exciting! A lovely picture of life on Chicago’s South Side in the mid ‘00s. It’s certainly better than much of the Louis Vuitton-soaked posturing from that era, but it’s also a lot better than the multi-culti up-with-people crowd too.

I come back to this every few years to see if I like it any better, and I never do. The lyrics are unbelievably corny. The music’s so blah, it’s always a half-assed version of Queen or the Kinks or Steely Dan or whatever decent 70s act who you like a whole lot more. I mean, groovy 70s is right in my wheelhouse, and I know so many people that swear by this album, and maybe if I’d heard it at the time I could have accepted the whole hotrodding cheap weed and beer vibe…but there’s not a single song on here I’d listen to even twice.

From the days of big beat dance! Very enjoyable psych-up music, obviously good for the ‘90s dance floor, but appropriate in so many other instances as well. Back before everyone wanted to be so durned mellow all the time.

Absolutely terrible. No wonder nobody in the US has ever heard of this. The lyrics are so corny and sophomoric, it’s almost impossible to believe that whoever wrote them understands the English language. The music is beyond dull. It’s a sad, watered-down new wave postpunk experience with no energy whatsoever. There are a few albums that I have given low ratings to so far, but I can understand how their popularity or historical significance justify their presence. This is the first album that I can without a doubt say has absolutely no place on this list whatsoever.

Nothing if not caustic, Marsh always throws down very danceable, listenable beats, at the same time as he tries to shock his audience with his crudeness and threats of violence. What’s most disingenuous is this notion that his listeners are put off by any of this, when has known perfectly well from day one that everyone will always flock to what he’s laying down. On the whole, despite being uneven, overly-long, and something I’m just simply often not in the mood for, it’s quite entertaining.

Energetic, exciting artrock/post-punk, so good it’s borderline funky!

I don’t think an album of around-the-world melodies in complicated time signatures was ever intended to be one of the all-time jazz classics, but that’s exactly what happened. Perfect for any occasion. Smooth, intricate, and constantly rewarding.

Deeply foundational of the East Coast hip hop experience, and clearly some of the tracks on here are major bangers, but after a while you begin to feel he’s shot his load, and it starts to get tiring.

I don’t get it. I keep thinking that one of these years I’ll get it, but I never do. The orchestration, the instrumentation, the production are all tremendous. But the thing is, the melodies themselves are boring af. Repetitive. Mr. Mangum is perpetually flat. And the lyrics: so depressing! Over and over again how he wants to die? So why am I listening? I’m not gonna deny that there is artistry at work here, but the end result is just joyless, and, as such, deeply not my personal aesthetic.

The driving, relentless force of the Desert Blues! Some do it spacier, but none do it rockier!

The energy of fantastically smart punk, but with a much more colorful sonic pallette, and a much more interesting range of subject matter. Not every song on here is a winner, but there’s a solid selection of bangers. A little ‘80s new wave preview too! Excellent.

I think the discussion of this album as anti-capitalist is a bit overblown. Rather, to me, it is much more interesting as a plea for true feeling in an overly mechanized world. Either way, just wow. All tracks flow perfectly into one another, and yet, even after nearing 30 years of listening, there are still surprises. And where necessary, it still really rocks! There’s not a second of it that I don’t absolutely love. It usually sucks to agree with the common opinion, but here I feel it’s unavoidable.

Magnificent in scale and scope, and in the dramatic build-up of tension. There’s nobody really does it like they do. Arguably, could be a bit more varied, but it’s a harsh criticism for a record that creeps into your soul as sneakily as this one does.

Twice as irritating as it is interesting. I suppose we can just chalk it up to a matter of a style that I rarely appreciate. His stories of down-on-their-luck American ordinary-types have a certain poignancy, but this can’t do nothin about his nasal delivery or the deep dull repetitiveness of the tunes themselves. Can’t see listening to this twice.

Weird, cool, clangy. Stretching the boundaries of what music can be, and yet clear and coherent of thought at the same time. Surprising and rewarding.

Some of these songs are indeed catchy. I usually prefer the faster ones. Her voice isn’t shrill. Ugh, but the lyrics. I hate break-up songs that are like, it’s definitely over between us…but maybe not? I’m leaving you…but only if you are still secretly in love with me. This is a whole album of those.

Meh. Totally without identity. They kind of want to be glam, kind of art, kind of prog, and they are a whole lot of nothing. Lyrics really sad, too. “Rock ‘n’ roll’s a loser’s game?” Then what the heck are we doing here, gentlemen?

Uplifting and strikingly beautiful. I get why this isn’t everyone’s cup of tea, but I could listen for hours. And some of these songs really do feel that long!

Surprised by how much I liked this one! The singles were ubiquitous in the early 80s, and seemed like a bit of a cliché, but that’s not giving them enough credit for the virtuosity with which they were played. And the album tracks are arguably even better! Just straightforward American rock, very clear in its intentions.

Pretty, pleasant early new wave, but lacking in energy and excitement for me, and no matter how many times I listen to it, it never seems to blossom into something with greater depth.

Triumphantly funky, and a solid groove the whole way through. Still deeply sampled today, this album remains one of the all-time greats.

Took me many years to get it, but I finally feel the elegance of its simplicity. I wouldn’t say I adore every song on here, but most are amazing, and it’s impossible to think of what everything in music has become without acknowledging the lesson this record has given everyone on power.

They were the unquestioned leaders for so long, but their supremacy seems to have taken a hit these days. Not enough T-shirtable iconography? No matter, it’s still the most blistering rock ever created, and this one may be the straightforward pinnacle of their achievement. Now it’s just for future generations to find and be blown away all over again.

Puzzling. Course I’m probably not the guy to ask, because I don’t even much like the peppy, fun Beach Boys, so it’s gonna be hard to sell me on sad, woke Beach Boys. I thought “Feel Flows” was pretty. The rest of it…well, I’m just not buying. I’ve never found them to be particularly authentic, and the socially conscious bit seems like something their record company asked them to do, and about five years too late. Pass.

Energetic, exciting, fun, and definitely worthy of a band that named themselves for their love of amphetamines. On repeated listenings, the horns start to sound a bit gimmicky, and there is nothing about the album which is particularly memorable, but it’s an enjoyable ride nonetheless.

Mellow, silky, engaging. A very pleasant listen all the way through, if nothing stands out as particularly exciting or ear-grabbing.

Ya think they’d be offended if I called them the American Smiths? Arguably their masterpiece. Every song on it (ok, fine, after 30+ years I’ll admit it, even “Everybody Whines”) is better than good; it’s like its own little journey of a story.

Seattle got a lot of credit for something New York had already been doing for a long time! Dirty is beautiful, and always with the full-range Sonic palette to prove it. Messier and less perfect than Daydream Nation, but arguably more fun?

Lost 80s new wave classic! The drums are fantastic, the horns are beautifully understated, and the eclectic African/Caribbean vibe has something for everyone.

Exciting and engaging. It’s always exciting to find that point when a band really hits their stride. I don’t like this album nearly as much as Ok Computer or Kid A; it’s just not as joyful (yes, I am calling those records joyful) or a complete vision. I debated the possibility of four stars, but I just couldn’t. It’s absolutely brimming with classic material.

Distinctive bass sound, constantly compelling changes in tempo and dynamics, great guest performances, and it’s actually even funny! An achievement for its time, and it still holds up. Many, many imitators, but still nothing sounds quite like it.

A most pleasant surprise! I was dreading this one, because I don’t really like CSN, and these days I’m not feeling the folky vibe. And then if you had told me about the gospel-like elements? I would have been really worried. But here the music is way out in front of any lyrical embarrassment. Sure, it’s got its corny moments, and its preachy moments, but much less than I would have expected. And on the other hand it’s beautifully balanced and listenable the whole way through. The two best tracks feature just amazing guitar work from Hendrix and Clapton, respectively.

A monumental achievement! And I don’t mean just listening to the whole thing. Struck by the consistent humor and playfulness of Ira’s lyrics, and the professionalism of cranking out these tunes consistently throughout a life cut all too short. Ella’s elegantly effortless, as usual.

Dynamic, eclectic, diverse, an excellent bridge between the alterna-80s and the shoegazey-90s. There are bands I have a greater emotional attachment to, but in terms of inventiveness and technical skill, these guys are way up there.

Still passionate, still exciting! I feel that this was PE’s first album in the wake of a really large audience, which I suppose changed their approach and broadened their focus a bit. If the result is somehow less overall powerful as their more underground efforts, it is only by a minor degree. Everything still feels real and relevant, and still hits hard.

Very clever, catchy tunes. Mick Ronson keeps it rockin’, and Moz is left to just be Moz, skewering the UK, the US, and all of us.

Everything she does is elegant and silky-smooth, but with a secret fist hiding behind it, ready to punch you in the face when necessary.

Deeply caustic and angry, but the music is clever, inventive, always changing, never settling. In a certain way, despite the criticism, this might be Ye at his most hip hop yet.

Well, they go hard after their sound, ya gotta appreciate. There’s a lot of inventiveness here, and a lot of artistry, and occasionally it really rocks! Maybe not quite often enough for my taste. Not sure the lyrics are quite as clever as they would like you to think they are. Flute’s better integrated than I expected, though. Anyhow, while I don’t think I’m any more a fan of folk-rock after this listen, it’s still an enjoyable album overall.

Less famous and flashy than its ‘91 sister, but packing no less of a wallop. Pure elegance in its quiet moments; pure elegance in its abject screaming. What I love most about this album is that, despite coming on the heels of a huge hit, it’s even less overblown and celebratory. It’s not the problems of sudden fame; it’s that nothing has changed at all, or ever will.

Pleasant tunes, but overall pretty tepid stuff. Important to remember, I suppose, that while the late ‘60s ultimately became associated with Hendrix, the Doors, Zeppelin, etc., this is what people were actually listening to. The title track is a solid jam, and you don’t necessarily want to fault folks for being merely listenable, but when it all seems so calculated not to offend, there’s very little to recommend multiple visits.

The best durned versions of these songs that I ever heard, that’s for sure! A perfect balance of elegance and passion. I must say, I rarely go for that country twang, but this record just proves that a good song is a good song, especially when you have a master doing the interpretation.

Very smooth, and very groovy. A seamless mixture of classic MPB and turn-of-the-century downtempo. What I like most about this album is its willingness to push the boundaries of its sonic palette, and to take both genres to a depth that hasn’t been seen in quite this way before. Masterful.

These guys always puzzle me. It’s intelligent, tune-forward, multi-layered. But it’s always too clever by half. The bells and whoops and whistles, which I’m sure call to mind the music hall traditions of the Davies Brothers’ childhoods, are always way over the top. The socially conscious themes of average life in Britain are always more wink wink than they are heartfelt. Maybe I’m just not English enough to get it. Also, I don’t really like Ray’s voice. For me, they just get left in the dust by so many other bands of their era who are much less smart but so much easier to feel on an emotional level. Still, one can’t deny the artistry involved. But I never feel like throwing ‘em on.

Compelling New Age weirdness. Noises across the spectrum. Lovely changes in dynamics and mood. Elegant.

Interesting, eclectic new classical. Some of it’s very out there, some of it’s kinda blah, but it’s all a chill, well-rounded, listenable attempt.

Farroukh and Friends are back, bringing all the drama & destiny, with a record some consider to be their magnum opus…only it’s just never been my favorite. Too much camp, not enough cacophony. Still, these guys on their corniest day are still fun as all heck.

Well, it’s relentless, to be sure, as only an album where every song is about brutal murder can be. And, see, I guess that’s a clever concept, but maybe not quite as clever as Mr. Cave would want you to believe. As for the execution, I’m a bit torn. Some of the songs are quite beautiful, especially Ms. Harvey’s and Ms. Minogue’s. It’s good to get a break from Mr. Cave’s voice, which, again, I’m not as impressed as he is. Ultimately, though, I think even one more full listen would be quite difficult, not because the subject matter is so difficult to bear, but because so many of the tracks just go on and on into dullness.

Brian brings the positive vibes! But seriously, it’s not as dark as it would have you think. There’s an enjoyment and a lust in sharing all those feelings that would make your mamma and your pastor cry. It’s also long and relentless and tiring, but, especially towards the end, there are enough moments where a change of pace really helps to give a well-rounded experience. I was left exhausted, but strangely wanting more.

Perfectly simple, deliciously complex, and far more heartfelt than anyone ever gives them credit for. I feel I could listen on repeat for days and never tire of a single song.

The lineup changes, but the groove never stops. Mellow, soulful, and thoroughly enjoyable.

Still as fresh and exciting as it was when it was the only thing played at all the cool parties the year it came out! Intimate and epic, and always keeping you guessing, even when you’ve heard it hundreds of times.

A solid groove, and a special style that has never been and can never be repeated. Always sounds fresh and silly and underground, even many years later.

Stripping away the rockstar persona a bit, Mick & Company look to discover the heart of the blues. Not every experiment works perfectly, but they get a surprising amount of calmness and focus out of these tunes, especially since the lyrics don’t seem to have any connection to their actual lives. Good storytelling.

I’ve never gotten this one. I suppose it ends up on everyone’s list because it’s weird and eclectic and so-called psychedelic. However, I feel it completely isn’t saying anything, either musically or lyrically. The fake medieval madrigal shizz gets so annoying, I find myself begging for the album to end. “The snot has caked against my pants” - is this a joke? The acoustic guitar and horns are so wack. Everything ends up sounding the same. Actually, “Alone Again Or” is kind of a catchy single, so I kind of want to give this album a second star. I just can’t.

Grinding, paranoid, relentless, utterly beautiful. Many imitators, but the sound was born here! I could listen on repeat for hours.

Love me an extended album-cut funk jam! This one is just chock full of yummy goodness. Keep you moving all day! Many sounds and much excitement.

Driving, dedicated, blistering stuff. Truly enjoyable. I mean, I think the lyrics are kinda one-note and on the nose and repetitive, and they don’t say quite as much as he thinks, other than, yes, depression does suck. But it’s a great listen, and stands the test of time, in the face of thousands of imitators.

Great advanced bar band sound, greasy, messy, and fun. But if I have said it once, I’ll say it a thousand times: aside from the flannels, ain’t nothin’ Seattle done that New York (and Boston) didn’t do first.

A pleasant surprise! I was worried it would be kinda country corny and lacking in energy, but it’s quite musical, balanced, and enjoyable, and some of the tunes actually cook! There are some slow moments, of course, but for the most part they are earned.

Groovy, energetic, lively, and fun. A bit repetitive, but still enjoyable the whole way through, and a great late 90s time capsule!

Comin’ with that Boom-Bap sound, back in the tail end days of positivity in hip hop. It isn’t the hardest hitting record ever to come down, but it’s eclectic, energetic, spirited, and fun. It’s a bit of a time capsule, but even if the rest of the world has moved on from this sound, it’s a worthy representative of the joy of the old days.

Fun, eclectic dance, full with the whoops and whistles, but belying a tuneful soul. I never tire of it.

The rootinest tootinest most funnest record you’ll ever hear. Pure energy, pure passion, pure soul.

Something for everybody! From prog to space to alterna to metal to softrock and back again. At over two hours and twenty-eight tracks, not every moment can be compelling, but it’s still chock full of melty goodness.

Cool, smooth, modern R&B, with plenty of bite. Quite a pleasant listen, and she has a lovely voice, but the overall effect is somewhat less than fully compelling. There just isn’t as much here that is new as she would like, especially lyrically, which is your typical litany of casual connections that are less than fulfilling.

Declan is back in the building with some solid pop tunes, carrying his ever-witty sensibilities and a little bit of ska underpinnings. Excellent singles, but not every tune is memorable, and, compared to the explosion of excitement in his earlier work, this one doesn’t quite have the energy.

One session. One idea. One thought, flawlessly executed.

Groovy, smooth, eclectic but thematic. Can fade into the background or dominate your foreground, depending on your mood. Always something new to find here.

One of my all time favorites. Many popular 60s artists felt they had to pander in the 80s, or produce ultra critical music to let everyone know they weren’t chill with the materialistic vibe. But Cohen creates a new sound and is true to his dark vision lyrically, and arguably this is the best thing he’s ever done.

Cool, chic, mod, introspective, and buoyed and balanced by an ever-palpable sadness, this is far more interesting than your average throwaway pop.

The coolest of the cool for 60 years running. Pop-infused jazz? Jazz-infused MPB? Or just perfection for any occasion? Astrud Gilberto is my favorite vocalist of all time.

Steady, capable, clear blue-eyed soul tinged rock ‘n’ roll. And besides that, not too much to recommend it. Pleasant tunes, and some actually rock a little bit, but zero innovation. In a world of so many more interesting choices, very little chance of a second listen.

Well this one certainly hits with a fist, soul crushing lyrics and all. Cornell’s vocals are excellent, but what’s somehow extra special is that they’re never the main show here. Not every track is standout, but more than enough are deeply devastating in a way that very few works can even hope to compare to.

Middle-of-the-road pop-flavored R&B, with grace notes of hip-hop and Caribbean stylings. I’ve never understood why this album is so popular: some of the singles really bang, but the rest is interminably long, the interstitials are irritating, and the lyrics offer little except, I don’t know, don’t trust people? She has a lovely voice and a creepy attitude.

Country vibes meet the California sun in a way that’s supposed to give me some sorta peaceful, easy feeling, but mainly it just has me wishing for tunes that have something more going on. Nothing particularly offensive here, but nothing exciting either.

A somewhat mystifying yet decidedly pleasant combination of middle-of-the-road folk-pop with late ‘90s downtempo electronica. Pretty, earnest, heartfelt, and utterly inoffensive, but otherwise without much more to recommend it.

Peaceful, spiritual, damn close to perfect. I've loved this album from the minute I bought it, many many years ago, and it's only gotten better with age.

Not a clunker on here. Arty, witty, sarcastic, and just downright good. Dylan, or any singer-songwriter really, would kill to write something this intelligent and accomplished.

A solid, constant, consistent groove throughout a very long run time. Not all feels urgent, and, sadly, he will always be compared just a little bit less than favorably with his dad. But nonetheless, an enjoyable and compelling listen.

Pleasant, middle-of-the-road ‘90s Britpop. I think this album has pretensions of wanting to rise above the common fare of the time, but the resulting problem is that, as the band has not fully succeeded in creating something expressive or poignant, they have also lost any sense of fun. Nonetheless, it is an enjoyable listen, even if a bit repetitive and not particularly memorable.

Delicious yummy disco goodness. Only problem is there aren’t enough remixes!

Doo-wop style songwriting meets synthesized instrumentation, and the ‘80s are born! It’s one thing to be prescient, but then, on top of that, every track’s a banger.

I know I’m supposed to get over how hard it is to listen to his voice. Sometimes it really gets to me, but it’s easier in cases Iike this, when the songs are just really really good. I’m typically not a slower-song cat, but they open up really nicely on multiple listens. I can see how so many folks were pissed off by “Southern Man,” because it’s a totally crashing jam.

Despite the West Coast pedigree, the boom-bap heart is strong with this one. Chock full of tasty beats and lyrical goodness.

Ya know this is a really good band if they can take their foot off the gas a little and still come with all of the horsepower.

A beautiful mellow set, perfect for a relaxing evening. Challenging in scope, but soft on the soul.

Relentlessly mellow, perfect in style & execution. My first African album, so to speak, and it still sounds like I’m hearing it for the first time, even after hundreds of listens.

R & B, dance, and hip-hop-flavored mild pop tunes, long on attitude, but not nearly as sophisticated as planned or hoped for. A pleasant listen, nonetheless, as the more bouncy tunes are particularly funky.

While it pains me to give any Nirvana album fewer than 5 stars, as I am a big fan, this is my least favorite. I’m not really that excited about the Unplugged phenomenon in general, though I do applaud its ability to introduce certain bands to new audiences who would otherwise be turned off by a harder sound or a scarier image. My problem here is that, while this album does show how pretty these songs are in their most basic form, no single version of any original is as good as the album version, or other live versions. I wouldn’t go so far as to say that Nirvana isn’t Nirvana without the loud, but it’s definitely lacking a little something. I do like the covers a lot, especially the more traditional songs, because they highlight how big a music fan Kurt was, how he was always searching for new music to fall in love with.

If you’re a punk band who has gotten every rich, you have two choices: write music about how hard you still are, or try something different. This is one of the most successful versions of the latter choice I’ve ever heard. On the nose, yes, but still deeply enjoyable, and heartfelt, and even uplifting.

I know this wasn’t Bowie’s personal favorite, but I really like it! Excellent proto-disco funky guitar work, and not quite as much pretentious posing as much of his other work. It feels like he threw himself into it without doing too much thinking, and sometimes that type of plan yields interesting results.

Very admirable in the heart of the ‘80s to write songs that are actually about something. Some fall a little flat, others never quite get going, but on the whole, an enjoyable piece of work.

Groovy synthesized ‘80s goodness! I know it’s supposed to be all dark and stuff, but to me it’s just pure fun. Very clear in its intentions.

So Paul proving that, chilling at his house, he was the best guitarist in the band, broke up the Beatles? Anyhow, not all these lo-fi experiments are successful, but many are quite lovely, especially the instrumentals. I’m glad these songs were recorded here, as I worry if they had been brought to the Beatles, John would have rejected many out of hand.

The older I get, the less important this album becomes to me. Disc 1 is almost all bangers. Disc 2…well, I think it suffers from the curse of all double albums, that they would have been extraordinary single albums if the band had been more judicious about what to leave off. Obviously there is richness of material here, and richness of style, and, given that this was more of a collection of individual efforts rather than a collective effort, a very specific set of intentions. It’s clever, and creative, and simply not their best.

Every track is a little pop gem of yummy goodness. Makes me happy and pumped up just to hear it!

‘90s Brit pop singer-songwriter jam masquerading as artsy loungey dancehall smoothness. There’s creativity here, and cleverness, but the overall effect is corny and deeply, deeply irritating. The worst thing about it is the lengths to which the singer goes to make his voice sound affected.

Intricate and elaborate, but also oddly emotional. Long orchestral pieces and short interludes, and continued surprises, even though I’ve heard this record many times. I don’t think anyone quite makes music like this anymore, at least not ironically, but to me it still sounds energetic and fresh.

Middle-of-the-road 2000s indie pop-rock, right in the intersection between glam and heartfelt. Unfortunately it doesn’t get deep enough into either, and though there are some lovely tunes on here, rockin’ and pretty, on the whole it just doesn’t ever elevate itself in any particular way. A nice listen, but majorly inessential.

A lovely marriage of old-school metal and the sounds of Amazonia. Lovely drum sounds abound. Lots of heart and energy.

Birth of the West Coast sound, birth of a whole new era, and it still sounds pretty fresh today!

Conscious hip hop moved in a lot of directions after this, but I don’t think it was ever so enjoyable. Amazing samples, fun lyrics, and youthful energy. For a long time this was my favorite hip hop album, and though I was eventually entranced by material a bit more visceral, this album has always kept an important place in my heart.

The ultimate singles band. Couple of the tunes on here are total bangers, but the majority are deeply forgettable. Pleasant sound, relaxing blues vibe, nothing offensive, but nothing to write home about.

As good as new wave gets! Dancy, but also intelligent, thoughtful, and meaningful.

I’m not much of a country rock fan, but man, when it hits, it hits! Not a soft moment on here. Some of these songs have been played so often, and even still, just keeps a rockin.

Definitely not my style, and not something I’d listen to on a regular basis. However, evaluating the album on its own merit, the songs are indeed very very pretty. I mean, it’s also some slappy happy nonsense, and even at 27 minutes long it gets tedious. But it’s calm, meditative, evocative, and actually some fine work.

Possibly my favorite Zeppelin album? As I said about Sabbath 4, you know a band is good when they can take their foot off the gas a little bit and not lose any of the horsepower. So much nuance here, and every moment is pure glory.

One of my favorites of all time. Can feel its spirit.

I still don’t get why this one means so much to so many people. Boring, boring beats. Endlessly long. Rhyming over abstract jazz isn’t new by any means, and it just seems to go on and on with no energy, no propulsion. The lyrics are just depressing, bordering on whiny. The interstitial poem which links all the tracks is self-indulgent and dull. Sooooo much talking. Some tracks on here are mildly exciting, and I guess I can appreciate his attempts to incorporate a variety of styles, but the results aren’t there.

Lovely, mellow, contemplative. It’s possible I’ve unfairly discounted this album for several years, as I don’t think it’s as dynamic or exciting as her first three efforts. I have to appreciate, though, that an artist can’t just always keep making the same thing again and again, no matter how much I like that thing, and even if newer material speaks to me a tad less on a personal level, it still may be incredibly rewarding. By revisiting this type of material, being willing to engage deeply, I not only see how she grows as an artist, but I see how I grow as a listener.

Devastatingly smooth. Achingly longing, but oh so exquisitely beautiful. Such a pristine work of art.

Not his best. Dry and unmemorable. Inchoate to say the least. The tone feels pulled in so many directions (psychedelic, acoustic, dance hall, American country?), that no single idea feels even remotely formed. Big fans probably see the roots of future success and glory, but for myself, only a moderate fan at best, it all seems slow, soft, and plodding.

This album was very important to me for a long time. I suppose, that in the wake of the many many imitators that have cropped up over the years, it’s no longer unique as such, and I don’t listen to it nearly so often. Still beautiful, though. I think it has an undeserved reputation for being ethereal, which I understand, but after seeing them live a few times, I know it’s possible to miss the ear-splitting, wall-shaking, brown-noting potential that their music actually has.

Adore this album. I don’t think it’s quite as ethereal as many would argue. Rather, I just think it’s elegant artsy pop, often with a great deal of propulsion to the programmed beat. Ms. Fraser’s timeless vocals always receive a lot of attention, and deservedly so, but there’s just so much here. The type of music that sounds like nobody before and everybody after.

The smoothest of the smooth. One thing I love about bossa nova sax is that light tone. Hard bop takes such a hard attack, which I definitely enjoy, but this is such an elegant, refined sound. Perfect at all times.

Bangers all. Track after track. Sure, some of their later material is more inventive and creative and cool. However, it couldn’t have happened without this material coming first, and, in certain moods, this is the highest art of the form, ever.

Brash, energetic, surprisingly musical, and deeply enjoyable.

First hip-hop (rap) album that I ever had! I mean, the really cool kids had some before this, but it was usually Run-D.M.C. self-titled or King Of Rock. Can’t be beat for historic and nostalgia purposes, certainly, but I think it still sounds pretty funky fresh. Rick Rubin certainly knew what he was doing to specify the sound in a very particular way, and the legions followed.

Kicks total grinding ass every single second. Utter mastery.

Despite always recalling to mind Krusty’s “Just Visiting Springfield Prison,” actually this is a terrific record. Not just a gutsy performance, but heartfelt, multi-layered, both exciting and peaceful. They’ll never let anyone do anything like this ever again.

What’s most surprising to me is that, given its utter tunelessness, its tiresome, nonsensical lyrics, and its intentionally miserable production quality, taken as a whole, the piece is still moderately interesting! Well, not that interesting. I get that fleshing out any of these rather-jingle-sounding sketches into something resembling a legitimate song would ruin the whole aesthetic, but I rather wish they had tried.

Haven’t heard this album in over 20 years! And you know what? I wasn’t missing it. Some of the songs on here are pretty, but most are pretty flaccid. I feel like, if you’re gonna make soft music, then you gotta come with something hard.

Utter perfection. Such a brilliant combo of MPB and funky proto-disco. Every track is a standout, and the minute it ends, I just want to start it again.

Thoughtful, melodic, enjoyable. Maybe a bit precious, but never boring.

Not necessarily the most cerebral rock n roll ever, but it’s an enjoyable groove. Solid good times, pretty much every second.

A bit of a misnomer to label these folks punk, I feel, as there is an awful lot more sadness than anger. Simple, but clear in its bluesy focus, and, given its DIY spirit, surprisingly listenable.

I’m not a huge fan, but I feel one must admit how many solid bangers live here. Not all of it, mind you. Some of it is pretty boring. I do, however, reject the notion that the personal emotional struggles among band members actually caused the music to be better. I just think the struggles happened right when a bunch of decent songwriters managed to get lucky and write a few good songs.

A funky good time! Sad lyrics, but deeply thoughtful. Very atmospheric. Arguably not as perfect as Transformer, but one I feel I will return to and keep connecting with in new and exciting ways.

Bob gonna Bob. You know what you’re getting here: moody, atmospheric lyrics, and sophisticated, adult blues. It’s smart and accomplished. But interesting? I guess it’s unfair, but I have trouble listening to the whines of the ultra rich and famous, especially when it comes to finding love. Maybe I’m just too upbeat a cat. Not impossible to imagine, but difficult to care deeply.

From the heart! Of course, you get Isaac H, Booker T, and all those other guys together on something, it’s about guaranteed to be badass. One of those that finishes and you might as well just start it over.

A tight, new wave version of a more traditional Jamaican sound. Not always a recipe for success, but they pull it off completely! Helps to have a true meeting of the minds of some fine musicians from both sides of the Atlantic. Not every track is a banger, but a surprising number are forever memorable.