This is not a great album but I did like it. A bit background music a bit mood music, I heard bits and pieces of a lot of music in it which came before. I don't see it as breaking new ground unless its in the way it was made. And I must say the clacky rhythm that runs throughout is tiring and unsubstantial. Probably 2.6.

Proto-metal. Heavy Acid Rock. I have a weakness for 60's era fuzzy guitar and I think I just OD'd. They are obviously channeling Cream and trying to take it to the next level. The results are mixed at best. This is a studio album that sounds live. I read someone's comment that said it is the missing link between Cream and Black Sabbath and I kind of agree although its not nearly as accomplished as either. It sounds like the generic scene setting music being played in the background of a house of ne'er do well hippie druggies in a 60's police drama. The album is short but feels long, which is never a good sign. Some tunes, in excessive effort to make them seem epic, go on way too long. Others seem like they are not fleshed out ideas that start and end with no real development. However, for me, they completely hit the mark with their cover of Summertime Blues. Its one of the 1st songs I remember listening to over and over on my own albeit the Eddie Cochran version. Later on I loved The Who's version. But when I heard this around 10 years old, I think my head exploded; I loved it. On the strength of that song, and the inarguable fact that this album is a priceless museum piece, I give it a 3.

Great album but not too dissimilar to others I’ve heard from BB. My guess is this was the 1st of his with this sound. So context plays a role in its place.

I’ve always felt Black Sabbath was a Zeplin wannabe But this album is about as classic as it gets Started a new genre of Satanic Rock

So with the 1st track Smack my Bitch Up ?? I knew what my wife would think of this album Although there were appealing mantra like moments that might get her attention Overall it was at times interesting and even listenable although I doubt I’d voluntarily play it again or struggle to find a playlist I’d want to put a track in But mostly it sounded like teens weee set loose in a studio with dozens of sound effect and shaping controls and they were just trying them all Much of it sounded like a dystopian movie soundtrack In fact I thought the last track which I liked should have been the music in that Mos Isley bar instead of the silly synth jazz Johhn Williams came up with

Every track is easy to enjoy Ima big Abdullah Ibrahim fan off the South African sound and this is consistently more accesible

Not his best. But still great highlights. Some filler from older stuff as he was trying to gain traction.

I can only assume his words, his poetry, is compelling. I don't have the time to focus on that.I don't mind and may even enjoy stripped down, acoustic music. But for God's sake, there's got to be a hook. His voice is thoroughly uninteresting. The melodies are unvaried. And what I did hear of the words was depressing or religious. ...and then, he started to whistle!....poorly. It felt like an achievement get through the whole thing. Actually, you know how in Spotify, when you listen to an album and its over, the stream plays 1 more song by the artist from another of their albums before going on to radio based on the album? That song, (not sure what it was) from a more recent album where his voice is deeper with no range, was better than any I heard on this album. Anyway I give it 2 stars only because of benefit of the doubt about his lyrics.

So this album checks a lot of the boxes for me. I'm a huge prog rock fan. This had that feel a lot of the time where I could hear flashes of Yes and Tull. I appreciate musicianship. I like well crafted songs. I like good basslines. I could also hear flashes of the Beatles and the Dead. I did not dislike this album. You can hear it coming.....BUT there was something missing. Its hard to put my finger on. Maybe a slight deficiency in several areas adding up to a Meh. Not enough emotion; not enough tension built ? No solos that step out front and grab you? Lack of jangly or hot or memorable or infectious hooks? Not sure but I can barely give it a 3.

This is not one of my favorites by the Boss but its still a classic with the classic E St Band sound he solidified in his previous album masterpiece, Born to Run. It seems a bit darker than that album but has his great lyrics which not only paint a picture but return you to a time we can all relate to.

This band certainly kicked ass . Just what youre looking for in a live performance :Big sound, lots of energy, virtuoso performances. It is the the pinnacle of the Big Band genre.

Fun. This album was fun. Simple, ferocious, infectious, straight-ahead Rock and Roll. Of course as a museum piece, you can't help but consider the cultural appropriation side of it all. Black music, typically ahead of its time, had been playing boogie-woogie and other proto-Rock for decades before Lewis hit the scene around 10 years prior to this album. But of course, as "Black" music, it was shunned by the white culture police. Ironically, as wild as he was, it took the likes of Lewis and Elvis to break through, at least with the kids if not the adults.

Very good album. Solid rock Pop. Made me think of the White Denim album we recently heard. This was tightly produced like that but it had what White Denim was missing even if White Denim was higher on the musicianship scale. Oasis had punchy solos and riffs that stood out and were memorable and catchy. I call it Jangly Hooks. I really wish we could give 1/2 stars because this was a 3 & 1/2.

I like a good soundtrack and this was very good. It is certainly a museum piece. It reminds me of Marvin Gaye of the same era only more ghetto. another 3 1/2 tweener.

Pleasantly surprised by this album. Obviously Hip-Hop is not in my wheelhouse but I found this to be creative, interesting, listenable , and quite musical. And I really like her voice.

Teen opera! Over the top just as it was meant to be. Over the top just like its subject matter: teen hormones. Several very good songs crowned by one of the biggest hits of all time. And casting Meatloaf in the part was perfect to give it the required excessive gravitas.

Why is on the list? I don't know if it should be on a list of 10,000 albums. I saw nothing, zero, to recommend this. Is this supposed to be prog because theres some synth fuzz? Not wasting any more time on this one except to say their best song isnt even on this album. She Dont Use Jelly Which sounds nothing like this album.

This is clearly a transitional album. So it has importance as an album pointing the way from where things were to where they were going; from punk to a new 80s guitar pop/rock. Most people mention REM which you can hear in some of the songs. You can also hear the punk style but less angry and more jangly. You can also hear older 60s style jangly rock that many compare to The Byrds. Finally, the psychedelic thing I find harder to get. I guess theres the heavy psychedelia like White rabbit, and the light like Syd Barret which I find less listenable. This is the latter, at times. Its all interesting, listenable and important enough for me to like it.

Firstly, I am not a metal fan but have heard things I like. Second, my words will fall utterly short and should multiplied by a factor of 100. Third, I am proud to say I listened to the whole thing apart from the many moments I needed to take the earphones off to wipe the blood off. This is pure noise of the highest and most extreme order. It is the sound of a 1000 trainwrecks crashing into exploding space shuttles that are filled with all manner of life earthly and otherwise. It is the soundtrack of a horror movie that should never ever be made. In its best moments it was disturbing but mostly it was painful and I am concerned it left me with a distinct craving for human flesh.

Good new wave. But his voice gets a bit monotonous. And the songs start to sound similar. Compared to songs Spotify plays when album is done, Doors, Tears for Fears, Lou Reed, it’s just not as good. 2.5

Bad is not bad for a style of music I typically don't like. Its elevated dance music. Not a huge MJ fan either but appreciate his popularity. The driving beat, like hammering on a trash can, and the incessant falsetto get tedious. 2.5

Loved this album. It’s the best of the punk genre. It is fun an not overly angry. 4.5

Not what I expected. Funky but not nearly as funky as expected. It is really a smorgasbord. A lot of it is fantastic. The 1st guitar song is David Gilmour-esque. In fact the guitar work is awesome throughout with shades of Hendrix. Lots of different styles and types of songs. Fun album. 3.5 4 for effort

I am not a fan of rap or hip hop. But this album makes me think I should be. Make no mistake, this is Art with a capitol A. The lyrics are of course a major part of the Art and I did not have the time or focus to absorb most of them. So how do I know its Art? Yes the musical parts are engaging and often complex and multilayered. And the lyrics are clearly telling a story. But even without knowing the story in any detail, you can feel the moods and emotions in your gut. Its is a narrative that paints a picture. Most of the best music is challenging and not so accessible upon 1st blush. But the more you listen, the more the layers are revealed and you are rewarded.

Good solid rocking album. Of course its filled with signature Cobain angst. Solid 4

So I am famously not a fan of Fleetwood Mac. Oh I don't hate them and I totally respect Rumors for the classic that it is. But I think they're largely overrated. So I was prepared when faced with listening to Tusk to be proved wrong. I would have to admit that the album was good and FM were a great band. Not so fast. I can honestly say Tusk is everything I do not like about FM. The songs seem half baked and meandering. While I like Christie McVie's voice I find Stevie Nicks annoying in all but certain of her songs. It feels like one of those albums where each of the major players in the band was allowed their few songs so it comes across as disjointed and fragmented. A few moments are a 3 but overall its a 2 at best.

This is not a great album but I did like it. A bit background music a bit mood music, I heard bits and pieces of a lot of music in it which came before. I don't see it as breaking new ground unless its in the way it was made. And I must say the clacky rhythm that runs throughout is tiring and unsubstantial. Probably 2.6.

So I find it particularly difficult to rate hip hop albums because they are so foreign to what I tend to listen to. Clearly I like some of it. I can also appreciate the artistry of it even if sometimes am uncomfortable with the lyrics. This album even has songs I recognize due to their popularity. 3.4

I liked this album. Glam punk. It reminds me of Social D. 2.6

Surprising to me was that this album was mostly a hard rock/metal album with only a bit of hiphop . I like a certain amount of metal but its not my favorite. And this was listenable for me but mostly unremarkable and straight ahead. The vocals seem to be working hard to sound hard core which just ends up being grating. 2.4

Extreme anger and other antisocial rhymes set to a beat. I suppose if I was angry with the deck stacked against me I'd be all in. But as "music," this is DNQ.

Plodding and unremarkable. So what are we doing here? Did I hate this? No. Its listenable and my ratings are based on how much I liked it. But this is a list of albums you should hear although we aren't rating them on whether we think you should hear them. We just listened to NWA. I hated it and gave it a 1. But I know that it belongs on the list simply because it was important for pointing "music" in a new direction. This album is like several others we have reviewed, ie White Denim. Clean production without any real emotion, innovation, tension, or musicianship. And the songwriting is uninteresting: "Parking Cars?" The more I see this list supposedly made by a panel of "experts," the more it seems to me to be made by a bunch of provincial Brits.

Love this double album which always seems to play shorter than its actual ~70 minutes; great songwriting, great production. And how many bands try to channel the Beatles and fail horribly. For me its an easy 5. I can certainly understand those that don't really like it. Its Prog Pop; 2 genres that can be unpopular with a lot of people. Even I can feel the sugar buzz after listening. But it works wonderfully because its unique sound and great songwriting and arrangements. But I do have another "list" complaint: why include this album and not New World Record? NWR came 1st. It solidified their unique signature sound. Their previous albums, while good, were a more raw and fragmented. NWR spawned multiple hits. It gave us the space ship. It sold 5 million copies in its 1st year. While I probably like them equally, which one was more important?

I'm not a dance/disco guy. But I did find this album interesting. Its post-disco beats point to the future of sampling and sounds often like proto-house. At other times its listenable funky dance. 2.4

This album started off pretty good musically. But it soon became just another antisocial screed from artists with a world view and life experience completely foreign to me. Thus I have no interest or affinity for this. And we have been given too many of these lately by the app. 2

Music for Beavis and Butthead. An album you must hear while you're still an adolescent so I guess that qualifies as "before you die." Most of it is a natural progression from the grade school, "DIck and Jane, sitting in a tree...." A drum machine, a few samples, and guys yelling does not music make. There are a few redeeming things. There is a sense of humor about them. Some of it is self deprecating and makes them seem self-aware. Girl is fun. Fight for your Right... is an anthem. And Brass Monkey is interesting. 1.4

I liked it. Some of it was a bit generic but I enjoyed quite a bit of it. Its listed as "Metal" but I wouldn't describe it as such. It was somewhat grunge maybe. 2.6

Decent pop album. I never listened to a whole album of theirs because the hits were enough for me to only be mildly interested.

Blues guitar driven Rock and Roll is the backbone of Rock since its inception. This album represents the peak of the mountain for blues rock. I consider it one of the major lasting artistic achievements of popular music. Every song is excellent. Detractors complain that many songs are appropriated. But putting your stamp on standards has been the way of Jazz and Blues for over a century. And this band certainly makes these their own. It created standards here as well with Bell Bottom Blues and of course the venerable all time title track. I saw many reviews panning the album because they do not like who Eric Clapton is. But this is not an Eric Clapton album. D&D and this album took many excellent musicians to complete. None more important than Duane Allman who contributed much including at least half of the song Layla. 5+

This is a big collection of great standards. And Ella is without question a great and unique artist. Her voice is always beautiful, precise, and so joyous. She is at her best when swinging and scatting. She is also backed by a superb band. But most numbers don't swing that hard and Ella doesn't let loose jazz-wise much. And over a range of songs Ella is mostly unwavering in her style. Even when the song is more bluesy or somber, she does not seem capable of reigning in the joy in her voice to express other emotions. She sings all the songs as if she is singing a lullaby to a child. 4.4

Very good album. Funk and Motown soul. Good mix of styles but some of felt a bit like filler. Worth listening to. 3.6

So I liked this album more on the 2nd time through. The songwriting was OK but not up to my favorite Reggae. I felt as if there was a lot of similar sounding stuff but less so as I listened more which is a sign of a good album. The production was smooth and tight with the backing vocals and horns all driven by a dominant bass. I really liked the use of the flute. The lyrics are powerful as much as I heard.

I am an old bastard and I clearly struggle to get rap. Through the 1001 I've been educated to some extent by reviewing Slim Shady, Beastie Boys, NWA, and Kendrick to name a few. Most of these, despite some low ratings given, I can see some value in. Even this hass catchy, well produced beats. But the lyrics of this is nothing but macho, antisocial, racist, misogynist, dick-swinging. I didn't even feel the anger in it that it tries to portray as NWA did so well in pointing out the ravages of the Compton experience. This is purely, an attempt to up the ante on shock value and self promotion within circles with like mentality. He succeeds with turning the shock value up to 11. It is VILE. But his self promotion leaves me looking at him as smaller. I have given a 1 star to the likes of NWA as being too angry and, admittedly, unrelatable. But I did recognize they were shedding light on their reality. I find it insulting to that 1 star that I can't give this 0.

Pain in the ass listening on YouTube. Not a bad album. Voice and lyrics sound amateurish at times but the band has a nice sound.

I like The Doors. They were very popular through the 80's. I know for some reason some people don't take them very seriously. This is not my favorite album of theirs but its good. It seems to run out of steam through the 2nd side. And its missing the one killer tune although some may think Roadhouse Blues is it,; I don't. 3.4

Excellent classic hard rock. Love the Bon Scott version of AC/DC. Brian Johnson's screeching tends to annoy.

This would have to be on the list of top 5 recordings ever made. It is a perfect concept album - groundbreaking and unique. Its only flaw is that it is too short. You are consistently left wanting more and playing it over and over never really gets old. Play it loud with good earphones to get the full effect. 11

This album has moments. The upbeat tunes are fun although the whole album suffers from lyrics which are, at best, mediocre and often disposable. "To be young is to be sad, is to be be high" ?? But overall the album grinds to a halt for many songs in a row. I found it impossible to keep my attention on them. 2.4

Monster players on a monster album. The virtuosity is A+, and its live! To me it often sounds orchestral with shades of Shostakovich and Stravinsky. They create their own sound and reinvent the Tango. The sound of the strings and accordion is almost otherworldly at times. This is exactly the kind of album which belongs on this list: unique, groundbreaking, and important. 5

Solid rocking album. I know several of these tunes but never heard the whole album. They have a good sound using the string backing (probably synth). I've never been that high on the sound of the vocals though. 3.6

This album evokes a time in history. The arrangements and production is top notch. Its filled with very good and familiar songs sung in their trademark elegant style. The few I was not familiar with are mostly good too. I love the amusing Dillon parody. Scarborough Fair puts a modern classic stamp on an ancient folk song. Homeward Bound is a near modern standard. And "The 59th St Bridge Song" is a deep excavation into the archeology of my musical memory. It conjures vivid images of 'speeding' down the street on my tricycle. When I heard the lines "slow down, your mov'in too fast" nothing was faster than me on my tricycle. The 7 O'clock News is admittedly a bit to obvious in its juxtaposition. But whether it was their intention or not, as this album ages, it provides palpable context for this time capsule. 4.4

Feels like there's a lot to unpack with this one. It was good but not great. The Bowie factor is fascinating. You can clearly hear that his stamp, his vision, and from what I know of both of them, bodily fluids all over this album. In some ways it was disappointing as I was expecting the Iggy and Stooges Iggy. But this was quite different. It seems much less raw and angry than his former albums. There is a lot of industrial sound to the production as well as signature Bowie style sax. I had no idea Iggy did China Girl years before Bowie did it. It must have pointed the way to a post-punk world.

Seems like a real throwaway album to me. I really hated the first 4 songs but then it seemed to get a bit more musical. The production is weird because on a lot of songs all the instruments are just part of the rhythm. There's very little instrument carrying the melody or harmony; just thump thump. Many tunes almost sound like house music, probably proto house which is what make this album a little important? And the autotune gets old quickly.

The Smiths light? No the Smiths were never really that heavy. I'd say pretty much the same; Maybe Smiths on Valium. I find him and a lot of The Smiths fairly pedestrian. And I find his 3 note vocal range gets tiring. But in the end its enjoyable enough.

Sea shanties turned up to 11. Hints of Zydeco. Lots of energy. All while being thoroughly Irish. It has an experimental feel some of the time when it’s not doing a straight Irish ballad, lament, or drinking song. I really enjoyed Fiesta as a real mix of styles. It gets tiring listening to a whole album but there’s a lot of songs that could be mixed in to a good playlist to change the energy. 2.6

This is one of the best live albums ever. This band blends blues, jazz, and southern rock into one of the seminal jam bands. Great originalson instrumentals like HotLanta and In memory of Elizabeth Reed. Great takes on blues standards too. Surprised to see so many low scores but I guess a lot of people don't appreciate long musical and expressive solos and "white apprpriation" of classic blues even if they make it their own and do it well. The long solos give it staying power to listen again and again. I do agree there is too much real noodling but where others see the solos as this, the real noodling is in their inability to finish a song. Otherwise its a perfect classic that loses nothing listening to it over and over.

OK so I'm not qualified. Most rap I've heard does not qualify a s music in my book. Its interesting at times as a spoken word storytelling as an extension of the oral tradition. This album, being early in the rap/hip hop genre, seems toned down in a lot of what was to come. The "look at me , I'm biggest badass in the hood" tracks are there. The storytelling of encounters and drug deals etc is there. The raps that are visual and feel like a tour tour in a car through the hood are there. But its all subdued compared with other albums and artists that came later. I guess this is important for pointing the way but I'm not sure if even fans of the genre find this album compelling still. 1.6

This was a huge album in its day. I was not a Prince fan so I never listened to the entire album. But I do appreciate his musicianship. ANd now I can see that this album was actually quite complex. There are many layers to the songs and the production. The style is unique and varied for much of the album. And there are good songs in adddiition to the many hits. 4.4

So I did get a chance to listen to this album twice...and it was worthwhile. Wiki calls this album a forerunner to Indie to come in the 90's. I can see that in the songwriting and instrumentation. But the crappy vocals hearken to a more Punk sensibility. However, it is a product of the grunge era and yet I feel none of that. Sometimes it feels forced and contrived. But despite being a bit of an oddball, it somehow works well a lot of the time.

This is a fantastic album. Many of the songs I had heard and are great songs that got a lot of play. A few I had heard and forgotten but are very good too. The rest are also good songs. But I never listened to a whole album. It still sounds fresh in all its simplicity. It creates a sound that is unique, direct, and conveys the emotion of adolescence. A lot of it sounds heavily influenced by Lou Reed (the impact of whom I never fully appreciated until doing many of the albums from this generator). I also hear Bowie in some songs. I've always loved the use of the xylophone on Gone Daddy Gone; there's even a xylophone solo! The bass work that runs through the album is fantastic. I read some reviews online and several mention that it is an acoustic Punk album. It never struck me as acoustic but its true. How unique is that?!

I knew I wouldn't like the pop sound of Abba. But I gave it a listen and, initially, I started to think, its not so bad. But the more I listened the more the nausea built up in my gut, to the point where it started to make me angry. Unless you are a juvenile, I see no redeeming qualities in this album. What qualifies this for the list? How many good and impactful albums with music for adults were passed over for this trash. You see, I'm getting angry just writting this. Sure you can listen to 1 or 2 catchy songs in a mix of others. But as an album, this is terrible. It sounds like a soundtrack for a Telletubbies movie or whatever toddlers are watching these days. Its only because the bar is so low for a 1 star that I give it 1.4

Much of this sounds, as so many bands do, like a descendant of Lou Reed. So I grew up in Boston where Roadrunner was a bit of an FM (WBCN) anthem. I never listened to the whole album but its quite astounding considering it was produced in 1972 and at the forefront of the Punk movement. While it mostly has the sound and crude vocals and sparse production of Punk, the themes seem anti-Punk in their lack of raw emotion, love of parents, wanting of girlfriend and someone to care for, being straight, and generally loving life. In the end it has some value, especially considering its context, and there are good songs. But it does get tiresome, particularly the vocals.

So we've reviewed another Smiths album and a Morrissey album. I can't say that any of it felt more than luke warm to me. Nothing terrible but nothing but a few hits that stood out. This album seemed a bit better than the other 2 but not by a lot. The singing didn't become tedious and showed a bit more range than in the others. I came up with REM as a comp only not as interesting or catchy. I gave the Morrissey a 3; should have been 2.6. This is a 3

Not really my cup of tea but I found it lighter and more listenable than most hip hop I've listened to. I realize its early and formative importance in the development of Rap. As such its style is dated. But the reimagining of Walk This Way is a classic that holds up . 2.4

I haven't really listened to Hendrix much over the years since I listened a lot in college. I'd forgotten the raw feel and the constant flow of unique and inventive sounds coming from his guitar. And the songwriting is great and varied. Most of the songs leave you wanting...more. I mean 2:25 for Little Wing?! Its as if he really didn't understand what he had there. This is a rock classic, a guitar standard. And I can see that guitarists would be mining his sound and ideas for the next 50 years. Timeless. I must go back and listen to the rest of his catalog.

I've never been a big FM fan. I think it always sounded like Dad rock to me before there was such a thing. And I particularly found Stevie Nicks voice tiring. But I wanted to try to approach this album, which I already acknowledge is an essential classic album, with fresh ears, as I try to do for all the albums in this app. What I found was that it checks so many boxes. I had learned over the years about the mess that was FM during that time; the drugs, the incestuous sex and partner swapping. I never really took the time to consider putting this together with the music and lyrics that they made. This is a hopelessly romantic album that puts on naked display the human cost of their lifestyle. Its sound and production is impeccable. It is smooth rock at its finest. But that smoothness belies the raw emotion and powerful impact of their words and vocals. Have you ever yearned? Well even if you have only craved, this album will make you yearn. I was looking for reasons so I could just give it a 4....but no luck.

This was a fun and quirky album. I'll say that the biggest negative is that it is too long and could have been whittled to a tight single album. But it has a great post-punk vibe even though its later than that. The songwriting and playing is often off kilter and that keeps it consistently interesting and enjoyable. It also throws in enough hard edge to remind you its still rock. I also really enjoyed the Spotify radio mix after the album was over. I was torn between a 3-4 so I had to look back on my 3's. Definitely 3.6

OK let's get 1 thing straight right off the bat; this is Electronica, some of which could be called House; This is NOT Prog. While their maybe be bands you could argue do both, the terms are NOT interchangeable. As an album to listen to, I found it mildly interesting at times. I can even see it in the list as an example of such "music." Originally, I was going to say it was like a tour of a science museum but I really like science museums too much to make that analogy. It could be soundtrack music to the next Matrix movie. It was actually quite good for working (physically working) to. It was very bad for listening to while sitting in traffic.

Truthfully, I need to listen to this more and in a different setting. It just didn't hit me for my mood. It started of ok. And I thought I'd get African/western fusion. Graceland came to mind. But this seems to me to be an album of African folk music and I wasn't in the mood. 2.4

Classic album. Every song is good and most are better. Even Our House, which I've always felt was too saccharine, was a major hit. It speaks to the variety on this album. It points the way from 60's folk rock to more complex and edgier (thanks to Neil) rock of the 70's. Several songs like the title track are really interesting with the changes they manage in a 4 minute song like mini movements. The variety of the album could make it seem a bit disjointed to some; the Young tracks particularly stick out. Despite the love focused themes of most of the songs, you can still hear the countercultural metaphors imbedded. Its a fantastic, enjoyable, mostly timeless album.

The Who used to be one of my favorite bands. I still love their music but I don't find myself listening too much any more. If I were to be jonesing for some Who, I would not choose this album. For me I think Tommy and Quadrophenia have more staying power for me now. This live album is interesting since its about 1/2 covers of rock standards. I've always loved the song Summertime Blues and their version which I've heard before. The medley of their popular songs is OK but it leaves me wanting. Substitute is great. Its a great example of their concerts for which they were famous. You can feel the loud hard rock energy and edge. Overall it feels like a very interesting museum piece at this point. 3.4

David Bowie was the whole package; the style, the personas, the characters, the unique and varied musical idioms. His musical style is like a genre unto itself. I would call it theatrical rock with a little jazz flourish. There's plenty of great stuff on this album although it varies so much it seems to fail to hang together. 4.4

Always been an Elton fan. But many of albums I've heard seem to have a bit of filler. This album seems to have more than a bit. It certainly starts off very strong with Tiny Dancer and Levon. I love the orchestral rock sound. But the rest of the album meanders somewhat aimlessly although Elton sells it with his classic pop singing style. But I'm not sure what makes this a candidate for the list.

The unique and original Thelonious Sphere Monk: he alters our understanding of rhythm and chords structure for everyone that hears him. He is life altering. In his day he was revolutionary and it holds up today. Three favorites are on this album: The title track, Pannonica, and Bemsha Swing. It still amazes how listenable and fun he made discordance and jerky rhythms. Any fan of music needs to hear Monk before they die.

Very good album of his falling just short of great. Probably the least of his albums during this period and could have been left off the list in favor of the others. Having said that, its Stevie and its jazzy, inventive, and a joy to listen to over and over. It ironically seems more introspective than Innervisions which is more socially critical. Particularly like Boogie on Reggae Woman. Creepin seems to have become a jazz standard. You Haven't Done Nothing seems to channel Superstition but in a good way. When I Go is a bit of a depressing dirge. 4.6

Early Who is raw. It shows its direction in forming hard rock. There are a few really good songs: Kids are Alright and My Generation. I was always impressed by the latter as one of those total rebellious and shocking songs that embody the teen and early 20's frame of mind. Its the same for my generation, their generation, and all generations before and after. I often think about them playing that song on Ed Sullivan and I imagine all the adults in the room jumping out of their seats when Daltry hangs the stutter on the Ffffff of the line "Why don't you all just....." Everyone older heard Fuck Off! before he actually finishes "Fade Away." Awesome! A Legal Matter and the Ox are a nice surprises too. These songs hold up. But there are many museum pieces on the album that do not really hold up. And some real mistakes on the album too. Their version of I'm a Man with Daltry trying to sound like a cross between Muddy and Howlin Wolf misses the mark badly. 3.6

This album was ok but I’m not sure why professional critics are so high on it. I found the way her drawl comes and goes depending on the song to be particularly off-putting. Her voice and in-tuness seemed to come and go too. Her songwriting seemed clumsy at times. Metaphors like metal firecracker, concrete and bar wire, and the title song didn’t work for me. 2.4

What would weddings do with the 1st song? So back when MJ was black, he was disco Mike. Not really a fan. Rock with you is ok and a few others that are more soulful. Often sounds to be channeling Stevie Wonder which I guess makes sense since he is sitting in on some songs. But a wouldn’t compare the songs to Stevie’s. My son likes to remind me that the war is over, but disco still sucks. 2.4

The raw emotion and power conveyed in this masterwork is astounding. It is a prayer, a conversation, a deeply spiritual vision quest. And it has a humility about it that gives it gravitas while inviting you to come along. I feel bad for the people that can’t appreciate it, as I do for myself and my inadequate understanding of what was created here. 6

So I’m not really a fan of Dolly’s chipmunk stylings and I’m mostly not a listener of country. This album is more traditional country with a heavy folk influence, particularly on the title song. But I am a fan of ‘70s singer songwriter genre and I feel like this is a mostly listenable, even enjoyable, album on that level. 3.4

So here we are again; the Smiths. Either they are way more popular in the UK or the people making the list happen to love them some Morrissey. 3 Smiths and 4 Morrissey albums on the list. And to me, they all sound the same and mostly blend into the background. There’s very little I think is bad but there not a whole lot more that really stands out.

This is a fine album that deserves to be on the list. I wasn’t sure if I’d like it because I associate Turner with the disco era. And while it was hairdresser music, you know, the music on KISS108 radio that wasn’t disco and allways on at beauty shops, it is 80s soul. Turner was a talented singer and created songs with emotion and power. Even her covers, which for many artists are throw away fillers on their albums, are good.

This is a great album. They created a unique sound that is timeless and was hugely popular when they debuted. Even the lesser known album cuts are a joy to listen to. I particularly love the way the album starts with a hint of mystery. But you then immediately discover that this music is built on top notch guitar playing. Waterline, Water of Love, Setting Me Up; the album cranks 3 hit songs right off the top and Sultans, an all timer, is still in the wings. 4.6

Proto-metal. Heavy Acid Rock. I have a weakness for 60's era fuzzy guitar and I think I just OD'd. They are obviously channeling Cream and trying to take it to the next level. The results are mixed at best. This is a studio album that sounds live. I read someone's comment that said it is the missing link between Cream and Black Sabbath and I kind of agree although its not nearly as accomplished as either. It sounds like the generic scene setting music being played in the background of a house of ne'er do well hippie druggies in a 60's police drama. The album is short but feels long, which is never a good sign. Some tunes, in excessive effort to make them seem epic, go on way too long. Others seem like they are not fleshed out ideas that start and end with no real development. However, for me, they completely hit the mark with their cover of Summertime Blues. Its one of the 1st songs I remember listening to over and over on my own albeit the Eddie Cochran version. Later on I loved The Who's version. But when I heard this around 10 years old, I think my head exploded; I loved it. On the strength of that song, and the inarguable fact that this album is a priceless museum piece, I give it a 3.

I am a big Cure fan. I listened to them a lot in the late 80's and still do occasionally. I had the Staring at the Sea compilation and Disintegration, both of which are excellent. This is not those. There are a few good songs on here with a lot of background/soundtrack filler. It feels like they hadn't really worked out what they wanted to be fully yet. I saw them recently and they played for over 2 hours of abbreviated hits, one after another like a long 2 hour medley. You have to have a lot of good songs to need to squeeze them all in by playing 2-3 minute versions for over 2 hours. And I still didn't even get to hear Fascination Street. Play for Today is certainly 1 of those songs as is A Forest. But there are too many all mood no hook instrumentals or songs where the voice is way in the background mumbling. almost as if Robert Smith had not really found his swerve yet. This album could be left off the list in favor of Pornography and Disintegration (which are on the list). 2.6

Usually when I'm listening to a album for this project, I am forming opinions and things to write for this comments section. However very little of that happened while re-listening to the White Album, and the reasons are twofold. One is obvious: its The Beatles and its so familiar and so much is known and has already been said. As a fan since I was around 4 being played "I Want to Hold Your Hand by my older sibs, probably the 1st song I can remember, it is difficult to have any original take. Second, this album is famously more of a collection of songs than a unified album. The band was fragmenting at the time and it is reflected in the album. Thus commenting on each individual song is the best approach here, but I will not be doing that. However it became clear to me as I attempted, mostly unsuccessfully, to listen with fresh ears, that the bands' friction led to the double album in which some songs were included that could easily have been cut to make a single, better album. However I did listen to a podcast of about 6 people discussing this album and it is clear to me that everyone has songs they like that others would not include. The most consensus for songs that should have been left off was Obladi-Oblada and Honey Pie and possibly Piggies, Rocky Racoon, Wild Honey Pie, Birthday, and the controversial Revolution 9. I find it interesting that despite the album selling well and being critically well received for the most part, there was no big single from it. Revolution 1 was a good single but a different faster version than on the album. I like most of the songs but my favorites are Back in the USSR, Glass Onion, Blackbird, Yer Blues ( despite being billed as a parody of white British blues, Lennon sells it so well and I really feel it when he sings the line "Feel so suicidal, Even hate my rock and roll"), Helter Skelter, and Savoy Truffle. As for Revolution 9, I can't say I like it but its impact, and creepiness is important for me and apparently as a gateway for similar (shorter) interludes in rock music to come. As for a rating, I find it hard to give this, a Beatles album anything less than a 5 unless perhaps I use a Beatles scale and compare it to Sgt Pepper, Abby Road, Revolver, Rubber Soul, Help, and Let It Be.

This was a light fun musical album. It felt like one track flowed right into the next as if it was 1 long song with many movements. Its impressive that it covered English, Spanish and French effortlessly. And there were are number of styles and familiar riffs they worked in, some that I couldn't quite place but I did here them use the riff from Tequila . I also thought the production and instrumentation was top notch and inventive. Enjoyable world music. 3.6

Prog Punk?! I can't believe I never heard of these guys. They are generally described as Punk but mostly I don't hear that. Even when they try to sound angry, they come across as having too much fun to make it sincere. I hear Elvis Costello in the Hammond B but even his early stuff I wouldn't consider Punk, and it often gets too flowery and embellished to even sustain that. Thats the proggy part. But I do hear New Wave. (apparently Elvis was considered Punk at the time of his 1st album, I'm reading) It doesn't really matter what bin you try to put them in, not everything hits the mark but there is a lot of variety and I like it. 3.6

So I put this album on the same level as The Monkees. The San Fran hippie version of rock desperately trying to channel The Beatles. They were working off the already released Revolver and Rubber Soul albums. I can see how the release of Sgt Pepper in the same year as this album must have blown them away. Still its inventive, original, and enjoyable enough to make it worth a listen and be on the list. I enjoy the mix of psychedelia and folksy styles. In fact I can hear Jefferson Airplane in some of the tracks. This probably owes to a contemporaneous rather than a derivative creation. But The Airplane did it better IMHO. Mind Gardens exemplifies this most but they don't have the gravitas of the voice of Grace Slick to pull it off as well. 3.4

This is a raw an powerful rock and roll album. It is a peak for 60's blues driven music. The classic hard driving fuzzy 60's guitar work is exemplary. Joplins voice and style fits perfect for the band and the moment. SHe sings with such power and emotion. Now, knowing her traumatic history, how troubled she was, and that she would be dead within 2 years makes it feel like you are listening to someone tragically in throws of killing herself. Summertime is famously one of my favorite numbers and I love the juxtaposition of her voice singing what was meant to be a jazzy operatic song. 4.6

If you can get past the typical hip hop dick swinging, and this album is filled with it to the point of being certifiably pornographic, there is a lot of musicality to like on the album. I found it very listenable and well produced. Little Ghetto Boy was probably my favorite although its a sad punch to the gut of Ghetto reality. Is that Ron Burgundy on the Jazz flute?

Not really entertained by this Leonard Cohen wannabe. Or maybe its trying to emulate the worst of Robbie Robertson. The music behind was somewhat interesting with unexpected directions and distortions. But the spoken word thing gets tedious, fast. 2.4

I have always felt that this album, along with the Carpenters catalog, is the perfect music for staring out the window on a rainy day. There's really not a bad or "filler" song on the album. It has more than a handful of hits and even the covers (is it a cover if you do a song you wrote?) put King's own spin on the song. She seems to send a very different message in Will You Love Me Tomorrow than the Shirelles. While the latter's hit was aimed at teen girls, King's version seems to have a more mature relationship perspective. Also Natural Woman has a very different feel than the venerable Aretha version. Which brings me to the well documented controversy, or is it complaint, that her voice doesn't hold up. Well, clearly, she's not Aretha, but that's not fair. I think she sounds quite good on this album. Her voice doesn't have the power and quality to really pull off everything she wants to do, but she knows what she wants and hits it. And it works with the whole style of the excellent production of this album. Of course her songwriting remains her strongest point. Great classic album. 4.6

How can you not love the camp sensibility found in the line "Babies on Fire, Better throw them in the Water." This was a popular underground tune during my early college years. The levity in that tune permeates the entire effort. But even today you can feel the experimentality that, despite the lightness, gives the album weight. It seems like a transitional album between glam, and the punk and new wave yet to come. Definitely a fun listen and certainly a worthy choice to this list. 4

Probably the best concert experience I've ever had was seeing King Crimson Discipline tour on Halloween at Carnegie Mellon in 1981. All the students were in costume and the band seemed to eat it up. KC has always meant Halloween music for me ever since. Up until that point, I only knew Court of the Crimson King. I 1st heard it when I was about 9 years old and my brother brought it home from college. Of course I had never heard anything like it. And although there was pre-prog like Sgt Pepper and Pet Sounds, and classical rock like Days of Future Past which preceded it, CotCK is credited with being the 1st prog album because everything about it was an example of full on prog at its peak. And although prog is often discredited in hindsight, in some cases not without good reason, its influence was huge on almost all music that followed. For me, there was enough great music in the prog era that still holds up today; & CotCK is one of the best examples. The power of the opening number 21st Century Schizoid Man is undeniable. It is meant to be heard as loud as your equipment can handle. Talk to the Wind is a nice number to come down with. It incorporates avant guard/free jazz sensibilities that hold your interest even after years of listening. Epitaph is a great number with the apocalyptic message of the times at the front. The line "Knowledge is a deadly friend, if no one sets the rules. The fate of all mankind, I see, is in the hands of fools." still rings true today. ANd you got to love the use of the Mellotron. Moonchild is another experiment into the avant guard and that segues into the wonderful Mellotron driven title track. All together a monster creation and a milestone in the rock pantheon. 5+

This was not what I expected. Its not rap. Its "Electronica." I guess that means it was made on a computer because that's what it sounds like. If Max Headroom made an album, it would sound like this. The sound is good and was even enjoyable.....for a short time. I even recognized some of the songs. But it was incredibly repetitive in the most headache inducing way. It de-de-de-de-de-deserves deserves deserves a 2.

Wow. So let's get it right out of the way: I'm not a country guy and Cash's performance is flawed. But WOW. Many rightly feel that this is one of the greatest live album ever. This album is an artifact. It is not only a collection of songs, it is a place, in a time, with a forlorn and forgotten crowd, and the Man in Black who fully understands his audience. The authenticity jumps off the recording and pulls you into their world; you can't avoid it, you can't look away. Meanwhile, Cash is singing about killing, drugs, and prison life to a crowd of killers, pushers, and prisoners. Some songs are good, some are almost juvenile. The juxtaposition of the music and banter, and the visceral atmosphere with cheers for killing and boos for the warden is palpable. This album (series) cements the legend of Johnny Cash and, while perhaps not exceptional for its pure entertainment value, is a major museum piece worthy of its own wing in the museum and serious academic study. In fact, I know Cash has his own museum in Nashville. I give it only 4.6 because I would need to hear only a few songs again.

This seemed like an album of incomplete thoughts. SOme decent tunes and guitar playing but I wasn't impressed. It seemed very pedestrian. So I read about it to try and understand what made it special. A lot of it seems to be tied up in the lyrics. SO I looked at them. So she is one of those that speaks from a girl and womans perspective as you might expect from a guy. That's been done before and it can have impact. This reads like pages from a girl's diary. And although I do find it compelling hearing a woman talk about guys and sex and relationships, I fell others have done it better and with more emotion...at least some emotion. You want some of that? Try Chrissie Hind's Tattooed Love Boys. This falls flat.

I'm sure in the development of rap, this album stands out as important and groundbreaking in context. But it doesn't have the musical production and artistry of modern hip hop so without context, the value must be in the lyrics. But I don't have time to analyze the lyrics although I will say that it is easier to hear what they are saying than usual. So i did listen to some lyrics and I appreciate its not the pure dickswinging and uber shock of other more recent hip hop I've heard.

Whenever I hear REM I wonder why I don't think to listen to them more often or at least include some of their songs in my playlists. They seem to fall under the radar. This is a fine album of songs by a mature band at their peak. I have always particularly liked Man on the Moon as I was an Andy Kaufman fan. The song seems to use the experience of Andy as a metaphor for bigger questions about life. 3.6

Fantastic early heavy/hard/Metal album. They were pretty big when I was young but I never really thgought about how early they were doing it. Most people credit Black Sabbath as the early metal champion but they had a unique sound that wasn't really reproduced in the genre like the sound of this album. Much of Deep Purple's sound could have been made 5- 10 years later. And yet they are clearly transitional with their blues based numbers, their use of keyboards (the sound of which I love) and their occasional progressive wanderings (I bet the guys from Rush were listening closely). Ill be adding Deep Purple to my rotation. 4.4

This was big on campus when I was a college freshman. Great fresh, stark, punk sound. They seem to be leaning into the Devo thing (without the humor), particularly in the vocals. Love the bass driving a lot of their sound. I particularly love I Found that Essence Rare and Damaged Goods

The Queen of Soul at the height of her power and the pinnaacle of the genre.

I love Ray Charles but I feel the list has screwed up again. This is not the album with the lasting major impact on soul and popular music. This, even in its day, was a back looking production. I love the big band and Ray's unique style and take on standards. I'm not so keen on the 2nd half of string backed ballads; they do not hold up nearly as well. But its all of the time and as such, its of the period before. There is none of the fresh sounds where he fused gospel with pop and rock and soul to change the direction of music for the next decade. Disappointing choice. 2.4

I always liked Bowie. But I only ever listened to collections, hits, and I had Let's Dance. Otherwise I never listened to earlier albums in full. This one appears quite experimental/ avant guarde for the time. I guess that's no surprise since one of my favorites, Robert Fripp, plays on the 1st half, and Brian Eno dominates the 2nd. There is good solid rock in the 1st half. Heroes itself seems to be more popular than ever. The sounds on the 2nd half appear to blaze a trail for new age music. Some is interesting but most fades into the background as it appears meant to do. The one song reminds me of Andreas Wollenwider (spelling no doubt wrong) and his mellow jazz fusion. I'm sure the trailblazing experimentation of the album lands it on the list. But it just doesn't land consistently for me. 2.6