This is beyond reasonable dispute one of the greatest albums of all time, so I will only add these thoughts to those who only hearing it now, 50-60 years after its release. 1) you have to think in terms of chronology. This album is from 1967, and it is the headwaters of so much that would later be dubbed “alternative.” Basically, most of my favorite music starts here. (The rest begins with the Beatles.) 2) again, 1967! What a year! It’s unbelievable the albums released this year which included the Doors first album, the first two Jimi Hendrix albums, Sgt Pepper, and more. 3) don’t try this at home… well, try the music but not the lifestyle choices being described. For example, Heroin… please just don’t. This album transports you to the New York underside circa 1967, but also to its art scene - which is why you get Andy Warhol involved in the mix as well. There is deconstruction, some self-destruction, and beauty. Wow, I said too much… make sure to also listen to their second album (self titled) and to Loaded.

It isn’t love it isn’t hate it’s just indifference.

I’m sure this is an important album that deserves better, but I didn’t latch onto anything here.

Not bad… consistent… reminiscent of U2 without the edge.

There are albums that stylistically I think I’ll like, but they prove shallow and unmemorabke. Then there is an album like this that I wouldn’t seem to match my tastes as well but it draws me in. Truthfully I need to give the latter half more time, it didn’t feel as strong, but the first half is strong. Also, randomly… I could picture mashing this up with Talking Heads’ “Remain in Light.”

Was pleasantly surprised as this album kicked off. It retained a good sound but, at least first time through, didn’t give me much reason to return. Better than expected overall but can’t get it past three stars.

You can’t not listen. It pulls you in and insists you enjoy the remarkable musicianship.

The eightiest poppiest of 80s pop, but some pretty interesting things going on below the surface. Really is a lot of fun.

Listened twice. Great sound, consistent, and pleasant. I would return to it.

just in case you didn’t know, this was recorded after the Let it Be (or “Get Back”) sessions. It shows that they stayed at the top of their game till the end. Literally till The End (one of my favorite songs on this album.) George Harrison was clearly coming into his own, as he contributes Something and Here Comes the Sun.

Intelligent progressive pop. It doesn’t always excite but it’s a quality production.

Very unclear why this must be listened to before one’s demise. Some will enjoy it nevertheless. But for me it does not invite another, closer listen.

Some great noise and guitar work on this rock’n’punk album but something was missing. The second track was covered by REM, I’m told, and that was a highlight.

Great song titles. Interesting and somewhat engaging music. Apparently making a statement. Probably an acquired taste…

Everything about this is intriguing. And sounds pretty good. I’m rounding up to 4 stars.

A couple strong tracks and I don’t really think the title track quite gets there. There is some great music going on behind the lyrics and way-too-serious vocal delivery. This came out in 1969… go back two years and find the Doors first album doing everything this was trying to do, so much more successfully. But hey, getting a classic from 1969 is welcome nevertheless.

Here’s a deep cut I’d never heard from an amazing year in music. Genre bending, psychedelic, and experimental. It’s not flawless but it gets 5 stars from me - because it’s just the kind of treasure I hope to find among in the 1001. Enjoyed it and will return to it!

The joke is on us.

Great band. This is first time hearing this album in its entirety and while it has some down moments I’m rounding up to 5. Best to listen through while reading the lyrics…

This one was disappointing - just didn’t live up to its potential. The opening song “Kicks” will be recognizable and “Not Your Stepping Stone,” but even these don’t have much staying power for me. It’s OK.

Love the cover, with the band dwarfed by nature. Standout songs included Darkness, Darkness and Besutiful.

I don’t get the hype.

The Bible itself gives the best review… from 2 Kings 9:20. “And the watchman told, saying, “He came even unto them and cometh not back; and the driving is like the driving of Jehu the son of Nimshi, for he driveth furiously.””

As albums, What LA Woman is to the Doors, John Barleycorn is to Traffic.

Three stars kinda feels like too many but it’s not a bad album. It has its moments but they are just…moments. Not sure how it earned a place on this list.

Not bad… consistent… reminiscent of U2 without the edge.

It will take you a while to get to the songs you most recognize - Pinball Wizard, I’m Free, and We’re Not Gonna Take It. Enjoy the journey. This entire (double) album sounds so good, and Keith Moon on drums keeps each song interesting and engaging.

There are about five stand out songs here with my favorites being Jesus Christ and For You. Both appear to be worship songs not sure they worship the same person. I like their sound but mainly the more energetic songs… although their cover of Femme Fatale certainly hits the mark. Would it grow on me further? TBD. But I’m rounding up to 4 stars because the songs I like I will definitely return to.

This album was a forceful expression of where rap could go creatively. It converted me from a rap skeptic in the 80s, although other trends in the genre keep trying to push me back.

I’m sure this is an important album that deserves better, but I didn’t latch onto anything here.

I cannot judge this genre intelligently - this 2 star review just represents my level of enthusiasm.

There are albums that stylistically I think I’ll like, but they prove shallow and unmemorabke. Then there is an album like this that I wouldn’t seem to match my tastes as well but it draws me in. Truthfully I need to give the latter half more time, it didn’t feel as strong, but the first half is strong. Also, randomly… I could picture mashing this up with Talking Heads’ “Remain in Light.”

A synth-pop album that surprised me with its ability to draw me in. Emotionally, lyrically, and musically interesting. Made me want to discover more from this band.

U2 have several members who profess the Christian faith. On this album you see how Faith, uncertainty, and companionship are intertwined in a weary world. The highlight for me lyrically and emotionally is Peace on Earth, a lament that is resolved by Grace, the final track. This album is musically and lyrically excellent with only a minor misstep here and there. If you only know the single Besutiful Day… well, I tend to forget that is part of this album.

A quite-good indie album. I was “rounding up to 4” until the last three songs when I was tempted to round up to 5. Was it just my mood? In any case, don’t miss those… and enjoy. I’ll be returning to this one for sure.

Obviously, some really excellent music on here! I think that Stevie Wonder was building on the sound of Sly & the Family Stone’s “There’s a Riot Going On” but with a much sunnier vibe. I’m only giving it four stars because, for me, some of the ballads don’t hold my attention as well.

I'm still little upset that they platformed Rod Stewart. But I'm rounding up to 3 stars because the music is listenable enough, although I will never listen to this album again.

Picture the classic Mothers of Invention albums such as “Absolutely Free” or “We’re Only In It for the Money” or maybe even “Apostrophe.” Now adjust it to something more serious, more epic, and more poetic. That’s what this album is like, maybe. This surely isn’t for everyone but it displays tremendous talent. If you’re prone to skip, at least slow down and take in “Casimir Pulaski Day,” which is not very much about Casimir Pulaski Day.

While I don't share John Lydon's disdain for religion, I can appreciate the anger at bad religion. (Jesus was known for this as well, see for example Matthew 23.) But this album gets 4 stars for the other statement it makes. Fresh off the Sex Pistols' musical coup, John Lydon (formerly Johnny Rotten) goes into full deconstruction mode - not just about religion but about celebrity, fame, and (you guessed it) image. There are some great sounds here. I love the vibe of Annalisa, based on a sad story of religious malpractice. This sound would be reproduced and deepened on Metal Box, aka Second Edition. Meanwhile, Fodderstompf apparently draws inspiration from Monty Python, the Beatles, and maybe the Mothers of Invention. If you don't like a song, wait till the next one. There's quite a bit of variety here. That alone is interesting coming off of "Never Mind the Bullocks." And besides, if you literally hate some of the tracks on this record, that's probably what John Lydon was going for.

This is album that has its moments. "A Minha Menina" is a cover of a song by Os Mutantes, an impressive 60's Brazilian experimental psychedelic band (!) whose 1968 album is part of the 1001. Most of the album doesn't sound quite like this but, again, there are moments. I liked the sound and feel of "Angryman" and "Sweet Like a Champion." Mostly I'm intrigued by the story: two friends create an album in the shed of their parents' garden, which sounds like a British version of the tech company started in a parents' garage. I'm told the duo went on to tour with a "real" band, and that real band made some more good albums... curious to check them out! But I can only give 3 stars because I don't picture coming back to this one, promising as it is.

Great album with well known “Heart of Gold” and “Old Man,” but don’t miss “The Needle and the Damage Done.” First track and “Alabama” also strong. Then, go listen to “Tonight’s the Night.”

I actually first heard this album in 1988 and it has followed me around since then. An album like this gives this 1001 list credibility, it is an album not everyone has heard but really should. To fully appreciate it, put yourself in the musical landscape of 1988 and consider what a tour de force this was. This is a band in the zone and doing something unique. Other 5 star reviews can describe the musical accomplishment better than I can, so at this point I turn it over to them….

This is the most accessible Captain Beefheart album, with some quite remarkable moments. It dips a little here and there, especially with the maybe comical (?) “I’m Glad.” But the first two tracks should be enough to draw you in and keep you on the lookout for more weird greatness.

My thought process: What is this? Oh… Not as bad as I thought. But, maybe another time. That time never came.

I give 4 stars to the songs I extract from this double album and forge into my own playlist. They are: Sign o’ the Times Play in the Sunshine Starfish and Coffee Forever in My Life U Got the Look Strange Relationship I Could Never Take the Place of Your Man The Cross The other songs display Prince’s versatile talents but these are the songs that resonate with me at this point!

This guy is incredibly talented, but I don’t ultimately need this in my life. I can and suppose I will, in fact, die without it. 2 for the talent, minus 3 for making the world so much less beautiful

Can’t do this. And have no business rating it.

Fantastic offering from the Class of 67. A friend encouraged me to focus on the drums / percussion and I pass that advice along to you as well.

My 3 stars simply reflect the fact that I’m unlikely to return to this album. I’m sure it deserves more respect, but nothing is putting hooks into me personally…

I was introduced to this album in the early 80s, which I consider fortuitous given that the entire album is a deep cut. But do what I did then… drop the needle on “Side Black” which begins with Ogre Battle. What an amazing set of fantastical songs. And every member of the band in full stride. And hey, Side White is cool too.

Rock becomes punk becomes post-punk becomes Mudhoney becomes Nirvana. I wish I had been more aware of this band in my teenage years. Lyrically, there is not a whole lot to offer my grown adult, self, but musically… well, you had me at fuzz.

Garage rock meets blues. Reminiscent of the White Stripes but less lyrical depth. But, strong sound.

Fantastic album that still reveals the optimistic side of the 60s and hope for a better future, before the cynicism of the 70s set in. Intelligent lyrics, harmony, and some nice electric flourishes throughout. The biggest problem on the album is the jarring movement from the opening song, Carry On, to the second track, which is full on country. In fact, the album does have a little bit of unevenness that way, but the highs are so high. It’s still rounds up to a five star rating.

There are four albums by R.E.M. on this list if I’m not mistaken. I would gladly see this one swapped out for Life’s Rich Pageant or Out of Time. It’s hard when a band is so dominant that most of their albums deserve to be on the list. So by REM standards, this album is probably a four star by the standards of anything else that came out that year… Easy five star.

Of course 5! It would be strange indeed if you joined this 1001 community and didn’t want to hear albums like this (again) (and again). Enjoy!

This has hooks to draw you in. Really good stuff, and had never heard this album before. So... thanks!

It just sounds fantastic.

I am not sure the editors of 1001 know much about Cabaret or Broadway, and I’m not sure many of us do either. So here’s 4 stars from someone who has no business judging this album, because it had the air of quality and some stand out lyrics and some high class contributors.

A little better than expected with a 70s Eno & Talking Heads vibe… I don’t think it’s just familiarity that makes “Cars” stand out though.

Bob Marley is an important artist, I just don’t know if I would return to this album much. For reggae please drop the needle on “The Harder They Come” (soundtrack) and Pato Barton’s “Never Give In.” Thank you, and sorry.

Post-punk at its earliest and finest! So minimalistic so energetic so good. If you like this, leapfrog to 1997’s “Dig Me Out” by Sleater-Kinney.

Apparently thee are mostly cover songs, woven together and his own testament. There are a few that are poorly done, but it’s clear he doesn’t care what you think about that. Tough empathy. Sentiment breaking up from the hard ground. Most powerful song for me: “I Hung My Head.” (Written by…Sting?!)

I love good rap / hip hop that has a story to tell and something to say… but… not willing to dig through the profanity, violence, and misogyny to find it.

You will hear this described as power pop, retro, blues rock, and proto-punk. There's a lot of different sounds going on here but it fits together. My favorite songs were Yesterday's Numbers and Whiskey Woman. I didn't love the title track but its lyrics were something Billie Joe Armstrong would have written if he grew up in the 60s: When you see me Better turn your tail and run 'Cause I'm angry And I'll mess you up for fun I'm a child of atom bombs And rotten air and Vietnams, I'm you You are me FYI - the original album went up to Track 9 (Whiskey Woman) and everything that follows are bonus tracks from the CD release years later. The bonus tracks are covers of early 60s songs like "That'll Be the Day" and Walking the Dog... they sound GOOD.

This is beyond reasonable dispute one of the greatest albums of all time, so I will only add these thoughts to those who only hearing it now, 50-60 years after its release. 1) you have to think in terms of chronology. This album is from 1967, and it is the headwaters of so much that would later be dubbed “alternative.” Basically, most of my favorite music starts here. (The rest begins with the Beatles.) 2) again, 1967! What a year! It’s unbelievable the albums released this year which included the Doors first album, the first two Jimi Hendrix albums, Sgt Pepper, and more. 3) don’t try this at home… well, try the music but not the lifestyle choices being described. For example, Heroin… please just don’t. This album transports you to the New York underside circa 1967, but also to its art scene - which is why you get Andy Warhol involved in the mix as well. There is deconstruction, some self-destruction, and beauty. Wow, I said too much… make sure to also listen to their second album (self titled) and to Loaded.

These are tight pop songs that aren’t quite memorable but so pleasant - especially when the rhythm guitars and percussion create a bright little “pop jam.” In the best moments I’m reminded of early Talking Heads, or live Talking Heads, or if the horns kick in…end game Talking Heads. I wish I could round up to 4 but it’s not quite there - best 3 you could ask for.

Strong album. I listened a couple times because it grew on me the more I relaxed into its sound and the more familiar it became. I really like some of the deeper cuts too. The 1 star reviews by some on this site seem completely unserious and childish. Just had to say that.

This album had mixed reviews upon release but its acclamation has steadily grown. I’m still with those early reviewers, and not sure what the big fuss is about. But… a little fuss is warranted! So I’m rounding up to 4 for the musicality and the strength of its best songs (which are also the most familiar).

These early Elvis Costello albums are great fun, lots of energy, love the sound.

This album and I go way back and I can only give it 5 stars, even if there are two songs weaker than the others. But I agree it’s CS’s best, though for a complete experience step back one album and make sure to listen to Maybe You’re Right, I Think I See the Light, and Trouble - all songs included on the soundtrack to Harold & Maude along with some from Tillerman. An inspired soundtrack for sure.

The cover says it all. Joyful flamboyance with a smoldering cigarette in the center.

OK, I will rate this 4 Stars if you would be willing to go back one year to Fishbone’s “Truth & Soul.” The Pixies are attempting what Fishbone accomplished perfectly with their album a year earlier: a cutting edge suite of songs weaving multiple genres together into a hard edged, hard rock tapestry. Love that album. And I like this one. This album is well crafted and you just may love it.

This album has a fantastic and diversified sound. I really enjoyed it. The first song or two might be familiar to you. A couple favorites on first listen were "You're So Great" and "Death of a Party," but that could change on the next well-deserved listen.

I know it seems like splitting hairs, but I don’t take a great interest in rock ‘n’ roll before 1964. (Blues, yes.) But I must admit, this sounds pretty good. Not sure if it is the magic of remastering, but the music was strong and the half hour was enjoyable.

If you read about Tom Waits - say, on Spotify - you will notice they mention: — many genres — many instruments — garage lids You’ll also see lots of adjectives and commas — all in pursuit of some way to describe what this eclectic blues, jazz, cabaret, story-telling artist is all about. My favorite album is the one that precedes this (Swordfishtrombones) - that is a 5/5 and this one rounds up to 5.

Some great musical ability on display. But. I think the problem is a vocal performance and lyrics that lack emotion depth. Like a 70s metal band…if you like those you will like this.

The Band came up from the Basement, and from behind Bob Dylan, to record their own album. It is fantastic. So is their self-titled second album. This was recorded in two weeks, live and without overdubbing, per Wikipedia - its strength is the chemistry the band enjoys. Don’t miss the great story song “Long Black Veil,” the strong penultimate “This Wheel’s on Fire,” the jam “Chest Fever,” or the beautiful closer “I Shall Be Released.”

Not a big fan of ELO and was unenthused about listening to a double album (who told them they could do that?). As it turned out… still not a big fan. BUT, if more of this album sounded like side 4 (the last four songs) I would be more interested. Rounding up to 3 stars and a math teacher would probably tell me I should be rounding down…

Who knew that in 1980, Public Image Ltd and U2 had a child and named it Klling Joke? As a result, I love the music. I appreciate the political and philosophical overtones. But, the vocal presentation has too much of something or too little of something...can't quite tell. In any case, this is a worthy addition to anyone's collection of early post-punk.

What can you say about an album that spent 962 weeks on the Billboard Charts, is 14x Platinum, and has one of the highest ratings I've seen yet on this 1001 site? How about... it's kinda boring? On the other hand, it's a philosophical work - with its message conveyed through a mixture of music and lyrics. (Every other song on the album is instrumental or ambient, till the last track breaks the pattern.) "Time," the best song in my opinion, has excellent lyrics, perspective, and emotional range. You just have to wait 2.5 minutes for the song to kick in. I guess that's making a point, now that I think about it. I do not disparage others for loving this album even though it doesn't do a whole lot for me. It has vision, some degree of depth...it's saying something. But it leaves me wondering why 1000 other albums didn't stay on the charts that long??

At first I thought, "This is just OK." And I didn't want to deal with an entire album of Liam Gallagher's voice. (One person said "Liam Gallagher makes whining work.) So I turned it off and went on with life after "Wonderwall." Over coffee this morning, started in again, just to be fair. "Hey Now" hooked me in. From there it was pure enjoyment. Even looping back around to the earlier songs. Maybe it's the coffee. Maybe it's the morning (I mean, right?). Maybe the album is really good after all.

From 1966, something truly impressive. This album builds a bridge between the culture and the counter-culture of its day. It includes plenty of doo-wop sounds and sentiments, but always with satire. The message: the times they have a-changed and if you're still living in the (then, not so distant) past, that's...cute. Other songs on the album are in-your-face cultural and political statements. That includes the opening track, "Hungry Freaks, Daddy," and also my favorite on the album "Trouble Every Day." As another review noted, that latter song is "sadly, always relevant." It truly is. That song may easily have been written yesterday, and yet this was nearly 60 years ago, the Beatles hadn't released Sgt Pepper, and (as another review mentioned) Americans hadn't landed on the moon yet. That bridge from the culture to the counter-culture is one-way, by the way. And it lands you in a swamp of psychedelic and experimental expression as the album wraps up. (You may get impatient.) This album forms, at least in my mind, a trilogy along with Absolutely Free and We're Only In It For the Money. That third album made fun of both the establishment (and decried its dangers) and also the (now trendy) counter-culture. Zappa was the Jon Stewart of the late 60s music scene: observant, talented, even-handed, satirical.

Please feel free to trust the critics and not me on this one. They all seem to love this. I couldn’t get past three tracks. I’m told the lyrics to this breakup album are “devastating” but I’m met with lyrics like this: “Show me emotional respect, oh respect, oh respect / And I have emotional needs, oh needs, oh ooh / I wish to synchronize our feelings, our feelings, oh ooh” Not so subtle… not so artful. Neither is “I remember every single f*ck” (track three). And I don’t like the sound at all. So there’s a lot I apparently don’t get, and I usually don’t rate an album if I didn’t hear all (or at least most) of it. But this was a non-starter. Needle off, record back in its sleeve, and ready to move on.

I didn't expect much from the band that gave us "Our House," a catchy one hit wonder type song I remember from early 80's teen-dom. But this has an enjoyable, intelligent pop sound, and the album is very even. Too bad it's not on Spotify, I had to listen to this one via YouTube. Another reason to give the band a break and round 'em up to 4.

I enjoy ABBA’s hits so I was willing to have them pay a visit. It wasn’t long, however, before I just wanted some peace and quiet again.

It isn’t love it isn’t hate it’s just indifference.

I never got around to the Ramones back in my can-I-afford-another-REM-or-Talking-Heads-album days. And it looks like this came out same year as the Clash’s first album which is more compelling to me. But, they inspired some of my favorite bands, U2 and as Sleater-Kinney to name just two… so I will round up to make sure they get the credit they deserve.

1. If you can’t groove to this rhythm, I fear your groover is broken. 2. If you have only heard “Take Me to the River” you haven’t heard this album. You have heard one of the lesser tracks. It’s great, but it’s part of the tempo change that helps you cool down after all that’s come before. 3. The last song, “The Big Country,” is satire at its wittiest, catchiest, and quirkiest. 4. Jerry Harrison was in Modern Lovers before Talking Heads. I highly recommend checking out their self-titled, ahead of its time album if you want another window into early alternative/punk inspired (of course) by The Velvet Underground. 5. Each of the first five Talking Heads studio albums should be on this list, not to mention Stop Making Sense. And the film SMS - oh the joy! Five out of five stars, fully deserving each one.

This is one sophisticated lady. Glad to learn about this album.

I’ve always thought Bruce Springsteen, for me, was just OK. So I guess I shouldn’t be surprised that, for me, this album was just OK. For whatever reason the song that landed for me emotionally was “Racing in the Street.”

I for one love to be reminded of hip hop’s younger days before its misogynyistic and violent growth spurt. May be hard to stick with the entire album but there are key songs to hear (quick! before you die!) - Hard Times, Rock Box, Jam Master Jay, and It’s Like That. There are other good songs as well, but I find myself surprised they are only half over when I think they are about to “rap up.”

The Kinks were pioneers. In 1964 they gave us early rock/punk classics “You Really Got Me” and “All Day and All of the Night.” Banned from touring the US, they didn’t get to enjoy all the advantages of their fellow British Invaders but have a solid discography. This is a good album that would be more impressive if it had been released 2 years earlier. By 1968, the Beatles were offering the white album and the Stones, Beggar’s Banquet. This may be intentionally a throwback but it’s a throwback nevertheless. The Kinks and this album deserve more attention. Wish I could give it 5/5 but I think this is a strong 3 or a 4.

Bob Dylan, revisited.

Apparently it took folks about 30 years to warm up to this album. I am in a bit of a hurry so I decided to save myself the time and like it right away. It’s solid, meaningful, and pleasant. Gene Clark was originally with the Byrds, I’m told.

“Heaven is 10 Zillion Light Years Away” will lead me back to this album. But this is the least familiar, for me, of Stevie Wonder’s magisterial period that includes Talking Book, Innervisions, Fulfillingness, and Songs in the Key of Life. Great stretch.

Would love to hear a pared down version of this album. I love what I’m hearing, it’s just that they keep interrupting their own songs. Nevertheless, I’m rounding up to 4 because it’s more than just a middler, and it started out strong.

Grunge? Indie? Gangsta Rap? Or how about this other sound of the 90s that builds upon the electronic and rhythmic pop of the 80s? I’m not even sure this is my style, so why do I keep listening? Why is it so good? I guess I’m a fan.

If you loved Brian Eno’s work in the 70s and his work as a producer for Talking Heads and U2… well, you will probably enjoy the opening song of this album. And if you are a fan of Bob Dylan, you might appreciate the homage “Blues in Bob Minor.” Each of those songs deserves a star. The rest, not that I can tell.

Am I being generous by giving 3 stars? Or do they deserve better and I’m just biased against them for later recruiting Rod Stewart? I can’t tell but I’m ready to move on. Next!

Yes. This was good.

60s British folk meets 70s singer/songwriter meets an occasional energy drink. Opening track and title track were two favorites.

Where the the vocals end the real enjoyment begins. It took a few songs to get past the 80s tropes, but when “Uncertain Smile” turned into a piano jam session, I was drawn in.

The White Album! What more can be said? How about this: The Beatles defined a decade one album at a time. With the White Album, they went the opposite direction of the previous year’s revolutionary Sgt Pepper. The fact that the album cover contained NOTHING (besides the band's name) is the first clue that this is something very different from their previous year's musical revolution. They moved from the optimism (and "pop"-timism) of the Summer of Love to something more individualistic, varied, and untamed, and at times more overtly political. There is a wider emotional range as well, more deeply emotional and raw. So this album - like all Beatles albums - is best heard in the context of the band's history and the history of the counterculture. Also, this album - like all Beatles albums - is ridiculously amazing and still holds up nearly sixty (!!!) decades later.

Alternating wit and anger and heartbreak. I was sometimes interested, sometimes impatient, sometimes checked out.

I've lived decades thinking Elvis Costello was either overrated or I was missing something. I was missing something. His first two albums (My Aim & This Year's Model): energetic, fun, rocking new wave. His third album (Armed Forces): Stylistic change, not so excited about it. Don't know about the lay of the land from there to here, but this 1986 album has the same energy as those first albums. It's different; he's expanded his lyrical scope, the songs are longer. Kind of like a garage band that's had a very, very long time to practice and develop their craft. These are songs I want to return to. Reminds me of an album like Dylan's Blood on the Tracks, but more direct, more rock/garage and (for me) more musically arresting. Or a collection of songs like you'd get from The White Stripes, but less blues. I get it, some people are still feeling Elvis Costello is overrated. I just encourage you to consider that maybe, just maybe, you're missing something. This is great stuff.

Three stars for a good album that is just not a favorite artist for me, and after reading the full Wikipedia article - just, yikes. It’s a good thing Mr. Bowie received the help he needed.

Someone quipped that Bookends is like the Beatles’ “A Day in the Life” played out over an entire album. That seems right. I can feel the influence and vibe of Sgt Pepper here, even though the acoustic presentation provides misdirection. Along with Mrs Robinson, there are some great counter culture gems here (Save the Life of My Child, Fakin’ It, Hazy Shade of Winter). “America” is a Simon and Garfunkel classic. Yet there are low points. Overs, Voices of Old People, and Old Friends is a skippable trilogy. A song about Kellogg’s Corn Flakes and another about the Zoo probably contain profound insight…somewhere…but feel like filler. I think the Beatles had the right idea in keeping it to one song. But — man, the great songs here are really deserving. Put the best songs on a playlist and that playlist should indeed be heard (a few times) before you die.

Fun, usually-quite-energetic album, with some staying power. Based on just one listen, I’d say either my favorite songs were in the second half…or maybe it just grew on me. Either way, “Runaway” stands out, as well as “Dull Life” and the “Dragon Queen” for very different reasons. Let’s call it 4.6 so I can round up to a full 5.

I like the Smiths without really liking the Smiths all that much. But I listened all the way through and was rewarded. Several quality songs on this one, and by the end I could appreciate it. Favorite songs: "That Joke Isn't Funny Anymore." "Well I Wonder" "Barbarism Begins at Home"

This album is a lament. We need it.

The 4est of 4 star albums. A great sound, in fact some of the best sounds the early 90s could offer to lovers of indie and alternative. Yet it needs something more, probably lyrically, to pull it all the way over the top. Favorite song - Dixie Drug Store.

This is the sound hard rock makes when it's just started therapy. "Jeremy" - heartbreaking, powerful, make sure you know the backstory. Skip everything else, love everything else, but this one is a testament for the ages. Six out of Ten.

I was introduced to Belle & Sebastian with 2006’s The Life Pursuit. I LOVE that album. Alas, it’s not on this list. But on this list is what is supposed to be their finest album, If You’re Feeling Sinister. It’s a good album. But it doesn’t have “Sukie in the Graveyard” or “The Blues are Still Blue.” So, enjoy this, but for some extra fun meet me over at The Life Pursuit afterward.

Rock/indie/just good. Started out strong. And Whenever it started to lose my interest, it gained it back again. Strong 4/5.

Me: White kid in the 80s, ingesting copious amounts of R.E.M., Talking Heads, and P.I.L. Also Me: White kid in the 80s listening to copious amounts of Sly & the Family Stone, especially Life!, Stand!, and this masterpiece - There's a Riot Goin' On. Me, today, 40 years later: White guy in my 50s, and on a REGULAR basis the opening sounds of this album run through my head. The album has never left me. Sly & the Family Stone changed music at least twice. Their 60s sound was dynamic and revolutionary, performed by a multiethnic band that was quite a rarity in those days (at least in the main). Then with this album, something totally new again. I also remember seeing Sly Stone on TV in the late 80s. He was such a huge figure to me musically, but by this point he had become a much smaller version of himself. The drugs that no doubt fueled this album had shrunken him. Like one that dies giving birth... we are the recipients of something unforgettable, but it took the life of its maker.

A easy on-ramp, and then such a smooth ride.

What if Blood, Sweat, and Tears was just garage/psychedelic enough to be less popular? That would be Moby Grape. And it sounds good! Only bummer is this is not on Spotify, though easily found on YouTube. 🙄

The Go-Betweens apparently fell through the cracks in the 80s. The album opens well. Then songs 3 and 3 disappoint, with “Quiet Heart” distractingly derivative of Joshua Tree era U2. But this album got my attention with “You Can’t Say No Forever” and kept going strong from there. 8 out of 10 great songs overall. It’s already improving for me on my second listen, so…. Definitely deserves attention, despite the early slump, especially if you like the more indie/alternative side of the 80s. Some would be interested to know the band reformed in 2000 and released the single “Going Blind” which features all three members of Sleater-Kinney. Great song, sadly not on Spotify… had to track it down on YouTube.

Hey it’s not every day you hear a song about a man playing chess with Death. I appreciate the poet/songwriter genre inhabited by others like Leonard Cohen… but unfortunately this album didn’t take me very far.