1001 Albums Summary

Almost quintessentially 80's style music: light, electronic assist, tuneful, catchy. Morrissey's voice is melodic and matches the music as well.. as long as you ignore what he is saying. I went into this expecting it to be a big downer based on the reputation, but the first song was bright and energetic and uplifting... again, as long as you ignore the lyrics themselves. Then you start noticing the lyrical absurdities and depression "Oh please please please don't kill me", he croons softly and lightly as the chorus. More hits than I remembered from this album, hearkens back to my youth. Thoroughly enjoyed this listen. Downsides: * Not danceable * Singer's voice is too low pitched * Wonderful schadenfreude.

Not really my genre. The first attempt I got in about 3 songs and just wasn't feeling it. My second attempt, many hours later, was more successful. It wasn't bad, but I don't feel like there were any standouts for me as well, and the collaboration with Kanye was "rougher" as per the latter's style, which I am less appreciative of. While I probably wouldn't object to hearing some or most of this album again, I am not putting it into my playlist.

To be honest, when I saw this pop up, I groaned a little: I like the Police, but they get overplayed and so I was expecting this would be a little bit of a slog. To my surprise, and perhaps because it has been so long since I gave them a serious listen, I really enjoyed this. Well, except maybe "Mother". Also, the final song "Murder by Numbers" with it's lightness and tunefulness juxtaposed to the lyrical content really gives The Smiths a run for the title of absurdist. Still though, singer's register is too low.

I hadn't heard of Nick Drake before: looking him up it's a pretty tragic tale. This is good coffeeshop or cafe music: kind of sad if you listen to it directly, but as background/mood it's inventive and well executed and not saccharine or bland. I'd like to rate it a little higher than Common, but there's no half-stars. Also, not danceable, and singing register is too low.

Growing up, there were only 2 ways to listen to music: buy it (usually via the Columbia Records and Tapes: 13 for $1 as long as you bought 8 more within a year), or listening to the radio. I was a kid without income, so the latter was the main method. Unfortunately, the decent rock station in town had "Beatles Sundays": every Sunday all day, all they played was Beatles. This Clockwork-Orange-style torture and conditioning has resulted in me not enjoying listening to the Beatles except in very occasional small doses. This album is not a small dose of the Beatles, and the age and mixing technology means it's a very bright, treble-heavy, and frenetic assault on the listener. While I have an appreciation for the breadth of the Beatles' abilities, the new ground they forged and the broad influence they had on the music scene, that does not extend to an appreciation for listening to this album. I didn't even get halfway through before I just had to stop and listen to something else to calm my jangled auditory nerves.

Interesting as exploratory. This music would be good as mood for a film (confirmed by the Wikipedia article), but it's not really something I would listen to on its own merits. In the inevitable comparison to the most famous Icelandic singer Bjorke, the latter can be more discordant but is more unique and exploratory, whereas Sigur Ros feels hesitant and careful. Not danceable, singer's register is higher, but not high enough.

Great album. Good voice, good music. Also funny: I can't forget but I don't remember what. I'd write more, but the Jazz Police are coming. Still not danceable, voice register way to low.

Very 80's, with some classics, some I hadn't heard before, and only one or two strange ones. Overall I enjoyed this. Not danceable, singing register higher... but not high enough.

Interesting and exploratory. I think LoveFool is the best on the album and some of their other albums are better, but I still thought this wasn't bad. Singing register *almost* right, but still not danceable.

I hadn't heard some of the songs on this album, and there's actually one or two that's a bit slower! They do all kind of blend together, lacking the variety available from other artists. However, consider this album in its context: introduction of punk to the world. From that perspective, it's fantastic and bold. Still, listening to large amounts of this when not drunk and partying is a bit tiring to the ears. Not really danceable: really more of a spasmodic response.. who looks good doing that? Singing register too low.

Fantastic. Nice high register for singing, but still tough to dance to.

Surprisingly good... and hilarious. Still no dancing!

Interesting early grunge rock, but nothing truly engaged me on this album. I did note the interesting contrast between his melodious singing and her angry rasping.

Not my favorite of Jack's work, but still good, and Meg drives pretty strongly. Interesting that Jack wanted it to sound rushed, and told the engineer "not to make it sound too good." There's definitely a rawness to it.

I didn't realize Ray Charles was "big band" as I haven't listened to much variety from him. This was a nice listen, and has some well known songs as well as some good new ones. "Daddy's done turn salty, Baby, you made him so sore. You done your daddy dirty." Slow dance only, good voice, but singing register too low.

Too much Zep when I was too young to appreciate them. I can appreciate them more now, but some of these are like jingles that have been repeated too many times for me.

Lots of frenetic playing and yelling into the mic. Some of their later stuff is better and more melodic.

Good for a dance club, or as background for a dinner party. A little monotonous/bright to be something you listen directly to or while working. Did love the xylophone leads in Hong Kong Mamba. Danceable!

Very different sides. Listened to this a couple of times and it really grew on me. Amazing that this was his *eleventh* album, released in 1977 after his buddy Iggy Pop helped him sober up, and his first album was only 10 years before that. I'm realizing how little of his work I'm familiar with, even though I've heard a lot of Bowie. Probably be listening to a lot more in the future, even if he was keeping a Low Profile.

It was better with better headphones; on lesser phones the sopranos and the drums and the clipped wording all got kind of punchy. I appreciated this album, but I probably wouldn't get it from the Columbia Records and Tapes Club.

Better than the previous album from Common. A little more diversity amongst the songs, and a Black Panther history lesson. I don't really have any objections, but nothing here made me want to put it into my playlist either.

Great voice, great entertainer.

Nope. Nope. Nope. Next.

Still not a huge Zep fan due to the overplaying in my youth, but this is really an album full of hits.

Hadn't listened to much Joni before other than the very well known ones. Pretty nice, and I can see why she's had so much influence across the industry.

Hadn't realized this was the group that did "Perfect Skin", and otherwise I didn't know about them. There's a throaty ambiance to his voice that reminds me of Hollis from Talk Talk or Roxy Music's Brian Ferry. Overall a good non-synth representation of the early 80's: a nice album and very enjoyable. 3.5 because there's nothing really *outstanding* here; Perfect Skin is really good, the rest is good, but not memorable.

I'm not really into the Indian music. There was clearly an effort to include some other ethnic expressions and so there was some variety but it all still felt fairly Indian. Nothing came across bad, but it was kind of a background ambient album overall. Perhaps my Western ear is not attuned to the finer nuances of Indian music, but unlike the Hives album whose title "Your New Favorite Band" was very wrong, this album's title was spot on: it was ... "ok". "Wear your colors or you look stupid, ya?" and then I looked stupid anyway listening to the 48-seconds of silence at the end of the Vampire track.

Nope, not a fan of the country music. I did enjoy however reading the WIkipedia article on Gram Parsons. When Keith Richards says you're being too reckless with the drugs, that's saying something. It's definitely a tragic story and I'm sad for the guy, but his friends could have done a better job with his burial wishes.

It's a 2.5. There were some good parts, and some not so good parts. I'm getting more clarity on how I want to rate these, but I'm struggling with this one (I really wish we had a 7-point scale), but in the end, I don't think I'll be wanting to listen to this in the future, so I rounded down.

Fits a different mood than we've normally had here, but it's pleasant to listen to for long periods of time. I had to take a little bit to change listening gears, but then I definitely enjoyed this one.

A classic!

There may be better Stones albums, but this is definitely a good one. Most of the youtube songs were 2008 remasters, and while I don't have the originals to compare to, the remastering probably contributed to my enjoyment to give it a richer sound than the typical early 70's mixing had.

Yes, I'm probably a weirdo, but I'm a big ELP fan. Not necessarily of Emerson's treatment of his instruments, and I laughed at the conditions placed on him for using the pipe organ at Newcastle, but I actually had this album (CD) in college.

OK, listening to full albums rather than the overplayed selections of my youth, I'm coming to appreciate them more. I'm probably more a 3.5, but not quite ready to push this up to 4 stars.

Interesting lyrics, although I'm not always sure what they mean... there might be references I am not old enough to know. Generally I liked it, although by the end I was ready to not hear his distinctive voice and any more harmonica.

On this episode of "The IT Crowd", Moss (Richard Ayoade) and his friend practice their hip-hop rap for the talent show at the local middle school.

Not their best stuff.

It was OK, but no candidates for my playlist. The first song started with an interesting promise, but then just kind of dissipated. Nothing else really stepped in to be memorable. I actually listened several times while doing other things and still couldn't tell you anything about most of it.

Enjoyed this album. Trend setters for a new genre (or two) and catchy and energetic.

Complex rhythms, intricate melodies, well crafted. Like peaches and cream.

Not enough inspired music. I wanted to like it more, but it was reminiscent of the un-memorable parts of Gorillaz Plastic Beach. To much reliance on the voice to do melody, assigning the piano player to be the most boring drummer ever (play this chord once a second for 2 minutes, then play the minor chord 5 times, then go back to the original chord, but don't play anything else). There were a few songs that were stronger, but overall it wasn't quite strong enough for a 3.

Hadn't listened to much k.d. lang before, but I enjoyed this one. She's got a great voice, and both the lyrics and the melodies were nice. Some of them were a bit easy-listening... youtube autoplay paired her with Joni Mitchell, which I thought was appropriate. A nice solid three/3.5.

Ugly and annoying. Started a couple of the songs, but as soon as the enraged demon singing started I had to stop. So really, did not listen, but I wanted to get the chance to indicate the lowest possible rating.

This one is already on my playlists.

Distinctive voice and generally good, although a bit punchy after a while.

At some points, Bowie is a rather insane lad. This album has some established hits and some others that wander around looking for something.

Very 60's. A bit all over the place, with the worst song (Friends of Mine) followed by the best one (Time of the Season), which ironically was the one they fought the most over. I'd probably give it a 2.5, with much of that strength coming from the last one, but I think I'll round down this time.

Dylan's 30th album, released almost 30 years ago! Reading the wikipedia page about Dylan and then the separate page listing all his awards is impressive. This album was much more calm and bluesy than the previous (which had more energy but was more jangly) and I enjoyed it more. His voice however sounds like it's almost gone, with a smoker's rasp. Focusing on the vocal harmonics makes me wince, but stepping back and taking in the whole sound takes the edge off and overall it works better. The last song felt like I was listening to a book on tape.

Stevie Wonder is good, but most of this album didn't really resonate with me.

I liked it better than I thought I would.

Please stop screaming at me. Some of the songs begin promisingly, but then the screaming starts. I was contemplating a two because of Itsari and Canyon Jam, but they didn't write Itsari, and re-listening to Canyon Jam, it's crickets and tin cans and gunshots, it just sounds nicer at first because there's no screaming. Also leaning towards a 2 because I thought it was at least a little better than Slipknot, and good to see some additional cultural representation, but I just can't go higher than a 1 because of the screaming.

Too country for me.

Interesting and weird, but I enjoyed this.

Classic late-night jazz. That's about the only time I listen to this genre, but I enjoyed this one in that context.

I did not appreciate that the youtube version was a 50'th anniversary deluxe 3.5 hr version with several outtakes of each song... great for a superfan, but not as an album listening experience. It can also feel a bit underwhelming listening to this because we've heard most of these so many times on the radio and other plays over the years, but this album full of good strong songs. Classics, slow and strong, with a backbeat that's hard to master.

I had heard Nothing Compares 2U and the Emperor's New Clothes but not any of the rest of the album before. I listened multiple times and liked it more and more each time. Good music, blending Irish characteristics with deeply felt emotions.

Not as edgy as some punk, and the singer is a bit more melodic than some punk singers (although still very punk-ish? punk-ey? punk-lik?). I think this is a good overall representative of the genre. It's not one of my go-to genres, but I listened to this album several times without getting annoyed or tired of it... but also without falling in love with it either. I did enjoy the last one (Moving Away From The Pulsebeat), which had a bit of a beach rhythm to it.

First couple of songs: oh, I didn't know this band were the ones that sang that. This is very 80's and for me, very pleasant. The singer's voice, the instrumentation, the lively rhythms... enjoyed it!

Great album! Both the songs and the lyrics and well done.

Excellent smoldering jazz.

She has a good voice, but this is not my music.

Fun and different. It's a fat funky album. Surprised not to see Frank Zappa in the credits for the last track (Wars of Armageddon).

He's generally talented, but I just don't really enjoy listening. Maybe it's his voice, but I was wanting it to be over.

Not bad, but not the greatest, and the singer's voice gets a little tiring over time. I had no idea they were as big as the Wikipedia article revealed. I'll bet a live show would be more appealing.

Although some of these are fairly simple and repetitive, they are well crafted and cleanly implemented. Geared a bit more towards a dance club, I was surprised to see the majority of Kraftwerk's output is from the '70's: well before the other electronic music. They were clearly ahead of their time and the music is impressive considering the era they had to work with. I enjoyed this and other Kraftwerk albums and will be listening to more in the future.

I had not heard of Goldfrapp before. I listened to this album a couple of times and then some of her other work at random. This album was good, but based on the sampling, I enjoyed some of her other stuff more. Still, there's clear talent here and I will be enjoying Goldfrapp in my music rotations in the future.

I don't know why *this* was the Clash album that was the one we must listen to until we die. It's OK, kinda standard punk, but some of their later albums were much better. I guess this album would have appeal relative to the early punk scene or to a Clash diehard, but I didn't find it to be hugely compelling.

I feel like this was more inventive, more musical, and less whiney than the previous Elvis Costello albums we listened to, but it still feels too much like a punchy marching music with regular beats and rhymes that don't vary.

Great vocals and songwriting. Pleasant and relaxed.

This is a cannonball into the 60's pool. Many of these are covers so I feel like this was more of a Beatles promotional album than the freedom of the band to create their own space, and indeed, they were required to generate 2 LP's a year by the record company. The mixing on this album really bothered me as well: I could hear different ambient background come in and out as different tracks were highlighted, and the gain seemed overbright. This was a bit surprising as the mixing engineer also handled several of Pink Floyd's albums and I haven't had the same experience there. I noted from the Wikipedia page that the upper right is prominently marked "stereo" or "mono", so this is probably the early years of a recording studio technology expansion and experimentation period: the mix that produced good sound from early AM radio and early stereo equipment isn't quite the same on modern sound technology. I'm not a huge Beatles fan (overexposure as a kid?) but there's talent here, although young and rough still, yet to find its true groove.

I didn't dislike this, but it seems like the most generic form of this style. It's like a collection of the most boring Beach Boys. It's consistent and inoffensive, but a little soft and saccharine for my preference, so it's getting a 2 because I won't object to hearing it, but I won't be seeking it out either.

Massive talent. Perhaps it's unfair that most of the youtube version of this album is accompanied by the video of the session, but to see how relaxed and unassuming they were, yet knowing the struggles and the behind the scenes fighting to control their art and share the session with the MeatPuppets. I really enjoyed this one.

I appreciate the broad experimental approach to music, with saxophone, piano, and various Eno effects. I feel like Brian Ferry's singing is a bit over-the-top and theatrical and syrupy for my tastes though; it works in certain songs, but not for an album-full. I could see this being a Bowie album (and better). There's a lot of good work by Eno on this album. To me this album is a good example of how Roxy Music hovers around the edges of the music scene, making periodic appearances but never becoming mainstream.

Started with one of the all time great. Too bad the later portion of the album couldn't match it. All good, but only that.

Interestingly, their most famous song (Love Spreads) is from a later era, but there's a lot to like about this album. It has an echo-y aspect to it: I don't know if that was a recording technique or the way their instrument's were setup, but I'll bet it worked really well for live shows.

A lot of fun and while one or two got repetitive, the overall had good variety.

Pink isn't really my scene.

Pull on your big black engineer boots and stomp around, and don't let any damn Billy goats cross your bridge! Lots of good stuff on this one.

Not as iconic as his famous movie score, but relatable and enjoyable. Probably not a go-to for me, but I did enjoy it and nothing here I didn't enjoy.

Inventive cacophony. You can stay in the basement if you do the chores and the dishes, but if you play this music anymore do it across town.

I'm not normally a fan of this genre, but she's got a unique and appealing voice, and some good lyrics (although she sure talks to her Mama a lot).

It's well done and doesn't come across as country and Western, but it's music my grandmother would listen to and I think it would have more appeal to that generation than to me. It's a three or better on quality, but other than one or two tunes I don't think I'll be looking to listen to this again.

Never heard of these guys before, and I couldn't quite figure out what type of music I would call this. Sometimes "club music", sometimes a little bit of jazz, sometimes a little bit of rock. Overall very interesting stuff, and I enjoyed this album.

Truly iconic.

Some of these are fantastic (e.g. Hurt). The gravel that age has added to Cash's voice adds a poignancy to these covers, and the acoustic guitar work is very good, with the engineering to include string noise and other ambients. I do wish he'd added a little more emotion and range to some of them though; for example, Personal Jesus sounds a little monotone like he's just reading the lyrics and doesn't care much about it. I wanted to like this one more, and I think it's still good enough it deserves more than 3 stars, but I needed just a little more from him vocally and emotionally to get to a 5.

The general policy is to rate the music, not the (current) political views of the artist, but that's more difficult when the subject of the music is politics. However, aside from the artist's recent politics, this is not bad. I don't usually listen to this style, but I can appreciate the breakout abilities and bold presentation here. (Also, many people are more familiar with her "Paper Airplanes", which is not on this album.) She's built a lot of sound off very limited capabilities, and is using that sound to push forward and challenge the world.

Truly a great pair of songmasters.

Epitomizes the 60's hippie culture, with lots of self inspection, freedom, drug usage, social commentary and critique, and musical development. While not everything on this album is a strong listen, it's hard to underestimate the impact of both this album and Jefferson Airplane as a band, so even though this only has a couple of top-ten hits, it's a great album in its context, so I'm going high. Fun fact: the first drummer left (before this album) because he didn't like the band's culture and drug use. He was a former US Marine Core drummer... about as opposite of a culture from the band as you could be.

I don't think this is their "best" album, but it's got quite a variety on here: funk, rock, ballads, etc. My first listen was not great because I wasn't ready for it and the explicitness was overwhelming, but with another listen or two, I'm impressed with the breadth and capabilities here. Interestingly, our previous album (Jefferson Airplane, Surrealistic Pillow) was Jefferson Airplane's second album, and they had to leave a track off their first album because it contained the word "trip" which made their record label. Now compare that to this album, especially Sir Psycho Sexy.

It doesn't have the richness or complexity of compositions by some of the well-known composers like Chopin, Rachmaninoff, or Liszt, this is improvisational jazz "in the moment" rather than carefully constructed over longer periods of time. In that context, it flows beautifully, has no discordant moments, and is well done. It's even more impressive considering the conditions under which it was made (both for him and the piano, according to the Wikipedia page). His vocal exclamations were initially off-putting: I thought it was a rude audience member but then read that he's known for both these vocalizations and his intolerance of audience noise. After getting used to it a bit, I found I enjoyed this quite a bit.

The off-key singing and meandering 60's exploration of self and drugs and society was boring and tiring, and I was glad when I finally reached the end. I expected to like it more, but with only one song (Feelin' Alright?) that had any punch to it, I don't see myself returning to this album.

Sometimes the beat was a bit repetitive, but this was generally fun and fresh.

Interesting contrasts between the different singers. Impressive when I recognize 6 out of the 10 songs as well-played "hits". The ones that weren't hits were still good. There's a good harmonization, and despite being late 60's this album still feels timeless.

I can't think of another band with the range--and stubborn bravery to express that range--as Queen, and this album epitomizes that range. Ballads (both sweet and sad), rock, operatic pieces, ragtime, harmonization, vocal roundels. All superbly done and expressed by the entire band. This is *definitely* an album that belongs on this list (even defines this list), and I didn't really want the next day's album to come up because I was still enjoying this one too much.

Atonal, weird, caught up in the performers' local issues, and punk. Not as horrible as death metal, but did not enjoy.

There's a couple of famous songs, and then others that are inventive but still early Santana. I feel like some of the later albums were more solid.

Great music to program to.

I appreciated the exposure to styles of music I don't normally run into. While this is from an earlier time and thus has the influences and character of music of that area, it's well done and her voice is clear and expressive. Good rendition of "House of the rising sun", and fun songs like "The Naughty Little Flea". And then... what's up with "One more dance"?!

Not bad, not great.

Note: according to Wikipedia, there should be 13 songs on this album, but th e youtube music version only has 8, missing songs: 1 Mean Woman Blues, 4 Matchbox, 5 What'd I Say Part I, 6 What'd I Say Part II, and 11 Hound Dog. Wikipedia also notes the album was only available in Europe for a long period and I suspect US rights for the performance of these 5 missing songs is why they aren't available. This is a lot of fun, and was probably a ton of energy when seen live.

This is difficult: am I rating based on whether I would listen again, or based on how well this album was executed. It's reasonably good on the latter, but probably going to be low on the former, so I settled on a 3.

This one didn't really do much for me, and the singer's voice take's a little getting used to.

Very 80's. Agreeable, but nothing stands out.

This album felt more melodic and less punchy than some of the others. No standouts, but not as tough to get through. Explored some interesting topical elements. I feel like this whole 1001 albums thing is just a ploy to make us listen to the curator's favorite artist.

Light, fun, and pleasant. Except for Wicked Annabella, she's not pleasant!

Classical Smiths: simultaneously good music and depressing subjects. I don't think there were any big hits on this album, but there was a bit of experimentation. It's a soft 4: better than some of the things I've given a 3, but it could be better. Art can push us to consider uncomfortable things.

I enjoyed this. Reminded me of Velvet Underground, or even a bit of D-Squad. Good voice and interesting lyrics; occasionally the latter bordered on too repetitive, but the writing was generally fun.

Not as bad as the other metal stuff we've had... but did not enjoy. The only thing that was interesting was comparing the Burns mix to the Lani mix and getting an idea of the impact of the mix on the product; the latter sounded much better.

Like I'm in high school again! There are some good hits here and solid rock from start to finish.

Never heard the entire album before. It's good!

The youtube link gave me a blank screen. I search for the album independently on youtube and got a version that has remixes and additional material (e.g. the song Wonderful Ass). Unfortunately, this is the version of the album I need to rate. Prince is (was) unique, innovative, and iconic. I liked the songs in general, but also felt that the version of the album I had was meant more as an accompaniment to the movie (which I have not seen) than as a standalone work. Good songs. Some not so good. And bad arrangement?

Never heard this before. Interesting, and it grew on me over time. Very unique vocal style. Good for this list.

Some great hits, and while the rest of the album doesn't quite achieve the highs of the couple of hits, it's really solid and impressive as a debut album. I do think the Fagan vocals are better than Palmer's and I'm glad they shifted to Fagan for subsequent albums. The mix of latin, jazz, and rock comes across as relaxed and confident, and I enjoyed this album, although I only gave it 4 stars because of some of the weaker aspects of this album.

I had never heard this before, and I was vaguely aware of the band but hadn't really heard their music (that I was aware of). While definitely an 80's approach, this was a pretty good album. Elizabeth is good at creating a musical vocal approach, even if you can't understand what she's singing, and the overall music is well crafted.

We saw these guys live several years ago. Good music, good fun!

This is the G-rated, Disney music of the 50's. I know: the album came out in 1960, but I would classify it as the springboard for much of the changes that better represent the 60's: launching the Beatles, the punk rock movement, and the general shift of music to more "life" and less an idealized aesthetic. I'm glad this is on the list, as it is a good representation of that base point from which a lot of styles were carved out over the subsequent three or four decades. Like a G-rated Disney movie, it's cute, inoffensive, but feels a little light and sweet. In other words, it's fine, but not something I'll listen to much, so it's a 2.8.

I'd never heard of this band. Despite being "ecstasy-fuelled" "psychadelic funk" it was better than I expected, although the alternative versions on the extended album we listened to were even better.

I'd heard the hits, but probably would never have selected this album to listen to outside of this list. Surprisingly good.

Aside from the main hit, most of this album was unimpressive. I have a hard time distinguishing The Verve from Oasis in sound, and it feels like the kind of stuff that fades into the background and then you become aware of it and ask yourself "what is this I'm listening to? and why? Isn't there something better?"

Good stuff!

Never heard of them before. I really liked Wilmot, and there were a few others that weren't too bad. Some of the songs lean towards electronic ambiance: it's innovative and edgy, but not necessarily something you listen to for the sake of listening. Its groundbreaking, but not well grounded and fleshed out, so it tends to be a little stark. I'm glad it was on this list, and I'm conflicted and indecisive about the actual rating, so I'll give it a 3, because I'm more likely to listen to it than the Verve.

Never been a Deadhead. This didn't change that. I've seen Keith Emerson physically torturing organs and it was more enjoyable than "Feedback".

This album has a lot of different styles represented. It's clearly a very early representative of its style, with a lot of artists that went on to be big influences in other bands as well, so I appreciate its presence on this list from that historical perspective. That said, it isn't the greatest album and sounds a bit dated.

I enjoyed this, although perhaps not as much as their first album. It did seem a little monotonic, but nonetheless an enjoyable mix of rap, hip-hop, and jazz.

Interesting and different. Normally punk isn't high up on my listening list, but this had a lot of originality and exploration. Also, another tortured artist who exited the stage early. Glad this was on this list.

I am a child of the '80's.

There's an expansiveness, maturity, and confidence to this album that really makes it work well. I like this one much better than the previous U2 album we had.

This is fun and high energy. It's also a bit dated at this point, so it doesn't today have quite the same impact that it did at the time, so I'm not as interested in listening to it in large amounts, thus I didn't rate it higher. Another critical album/artist in the history of music though, so glad to see it here. Also fun: Jimi Hendrix was in Little Richard's band for a while.

Hard not to get up and get moving. Surprised by the ballad but enjoyed it as well. Eagerly awaiting the brothers Gibb...

Really enjoyed this one. There's a lot of interesting and good musicianship on this album.

Aimless and rambling.

Hanging Gardens is good, and there's one or two here that aren't too bad, but this is early dark Cure, to self obsessed and nihilistic to offer the artistry that later Cure delivered.

Every single song is great.

While there's occasionally a decent part of a song, overall I don't like this, and I struggled to pin down why. I was listening to this album on autoplay and then there was a song where I thought: oh, they finally cleaned it up and this one actually sounds good... and it was U2's City of Blinding Lights. Having that comparison helped: Arcade Fire sounds muddy and bombastic without resolution, the singing is alternatively breathless or whining or imploring and almost always pained. I know there are people who enjoy this style, but I don't; I expect the occasional surprise from them, but nothing consistently strong like the Dire Straits we just listened to.

I enjoyed this more than I expected to. I'd heard various Janis Joplin songs before, perhaps even from this album, but this is a good collection. I also appreciated the album artwork.

Fine for christmas music, but won't be listening to this album again for a year.

Excellent guitar work, and nice blues. This really wants to be a Led Zeppelin album, but blues doesn't seem to be Rod Stewart's natural element the same way that it is for Robert Plant. I think Rod Stewart's later work better represents his strengths. Jeff's humility and constant collaborations are notable, considering his raw skill.

Nothing more to say here: still just off key, rambling, nothing catchy or engaging.

Elliott is clearly an artist. There's some interesting, artistic exploration here. That said, by the end of the album, I started to get weary of it. I think he would have been good to see live, and I enjoyed the songs, but not in bulk. Glad this was on our list though.

Talking Heads is undoubtably influential, so I suppose that's why their first album is on this list rather than some of their later work where they had better works. Interesting to read about the studio tensions and the band's commitment to their own work, and also David Byrne's hairy arms. :-) I can't go higher, because Psycho Killer is the only truly engaging song on this album for me.

A little bit dated, but not bad. It feels like these guys were kind of the genesis of southern rock (leading to Lynyrd Skynrd, Molly Hatchet, etc.) despite being from California; they stepped outside SF psychadelic rock to focus on more straight/country rock. It's a shame they broke up and couldn't keep on chooglin'.

Fantastic vocals from Karen, and while this is "easy listening" relationship music which can be a bit sappy subject-wise at times, the musicality and arrangements are top-notch for that genre. I probably won't listen often, but if I wanted music of this style, this is a good album for it.

Good stuff. I can't listen to REM for long periods of time, like some other groups, so I can't give it a 5, but I do enjoy them.

Aside from relentless punishment with endless Cohen and Costello, one of the good things about this list is that it caused me to listen more directly to Led Zeppelin. I was initially not a fan, largely due to relentless overplay on the radio during my youth, but working through the albums here and listening more, I have come to appreciate them much better, so when I saw this album come up, I had high expectations. Too high, apparently. It's OK, and has some really good songs like Kashmir, but overall it just didn't live up to my expectations. I find I enjoy the blues-ey songs (Kashmir, Ten Years Gone) to the hard rock songs (Custard Pie, The Rover). If I was putting together this list, THIS is the Led Zeppelin album that I would say has to be on the list: https://music.youtube.com/playlist?list=OLAK5uy_kAC5Yod-akX6an6LvT_805xSSf2iis3U0 (for just a sample, start with song 6).

This one grew on me... but not quite enough to be a 4, so it's a strong 3. Clearly 80's but with some inventive approaches, somewhat muddled by the 80's orchestral drama.

It's different and delivered with energy, but it doesn't speak to me and feels like it belongs in a strange overlap zone of rap and leg warmers.

I'm sorry. I like it.

One of the grunge classics. It's a little raw though, with some of the live recordings on the extended album showing better depth and musicality. Nonetheless, this album is stuffed full of hits... and a miss or two, like "Endless, Nameless".

While I don't find Portugese to be the most melodious language, this definitely had an upbeat, street party vibe that I enjoyed. Thanks for putting this on the list.

A modern Joni Mitchell, but without quite the presence of Joni or k.d. lang. Not bad, but not truly engaging. I think she's probably better experienced live, in a more intimate setting.

Never heard of these guys before, but I enjoyed this. There's a combination of humor, self-deprecation, inventiveness, and whimsy that made this one fun. Not quite as good as Klaatu, but a very similar style.

Haunting craftsmanship of a musician trying to create a purity of his inner expressions. It's definitely not mainstream, but it's quite well done, and amazingly, in just two nights starting at 11PM each night. Another tragic author story.

Why are there not more stars?!

Meh. Not that great.

This one is tough to decide. I am generally not a fan of country, but this isn't the usual country: there's some inventive stuff going on here, with a lightness without the usual twanginess. I liked Boxcars and Cornbread Waltz was pretty good. I disliked both the imagery and vocals of Fingernails, but the tune is a bit of an earworm, and it is a fairly original set of lyrics despite being distasteful. I did not like Because of the Wind because I didn't like the instrument, although stepping past that, it was a reasonable representation of wind. Tonight I Think I'm Going Downtown was the most stylisticly like the country I don't like. Hard to decide: I might listen to a couple of these again, but I probably won't seek out the album overall. Strong 2 stars, but just not quite enough for 3.

Harold and Kumar record a soundtrack for the Blair Witch project.

This album was a bit all over the place. There were some decent songs and some bad songs. Nothing seemed particularly strong, but I'll give it a low 3 because KISS broke ground with their imagery and showmanship, and because they were good mentors to Rush on the concert tours.

It feels like the entire album is just one long song with very little variation. I can take Dylan in small chunks.

Lots of raw talent here, another lost too young. Despite the drug issues, she maintains a clear, strong voice for this album. There were reports of bad concerts, but she doesn't seem to have deteriorated as badly as Winehouse before the end came. She achieves a combination of blues, jazz, and soul mixed in with the rock. I enjoyed this, as well as some of her other work and the Big Brother output with her (apparently, Big Brother and the Holding Company is still around and still issuing albums!) and would liked to have heard how she develop her style had she had more time to do so.

Not quite as good as Man Machine: less energy, more mellow, which is a bit unusual in electronica. Listenable, just not as stimulating as I would have liked.

Not as bad as the last one, but.. not getting any better either. No more, please.

OK, I guess, but not that interesting to me. Listened to the whole thing.. despite recurring urges to find something better.

Another bright star lost too early. This was good and he was clearly talented.

A surprising number of hits on this album. The end kind of lost the thread, but overall pretty good!

Not "bad". Every song on this album is recognizable from my youth except Seagull despite my never having owned this album. And Seagull is a classic blues song (I frequently enjoy listening to Joe Bonamassa's cover of Seagull). Strong and consistent as you'd expect from a supergroup like this.

It's OK. Small doses of fun, but not usually my mood for long-term listening.

Iconic. Defining a genre, and well done.

Umm.. ok. She's had a few of these that distinguished themselves, but the breathy, lazy delivery combined with the bass club beat is... more melodrama than I felt like was warranted for the whole album. Billie Eilish is better at this style.

I was an ABBA fan in my youth, and I actually won their Super Trouper album by being the first caller to the radio station when the song was played. This is probably the first ABBA album where their sound stabilized and their approach was more consistent and sure... that said, I think Voulez Vous and Super Trouper were better overall albums. Still, although this might not be to everyone's tastes, I think that--like the Carpenters--they brought a lot of musicality and balance to carve out a new space.

Not a style I typically listen to, and not quite as strong as the Pixies work, but clearly part of the same arc. Not sure I'll be adding this to my listening list, and somewhat erratic in quality, but overall decent.

Not a style of music I particularly enjoy.

I had never heard of Sarah Vaughan before, but this is great. Good jazz, good voice.

Wavered between a 3 and a 4, but I'll be gracious to the Thin White Duke.

It wasn't bad... but then it just got long. There's a basic formula here: some sort of rhythm (percusson) track, a bass track, and then various DJ effects like voice interjections and other sounds. It was well done, but repetitive. I'm not super into this genre, so I assume this is a fairly good representation of it overall, and I'm fine with it, in its context.

Interesting. I'd never heard of Love before. A range of styles, and I can hear the influence on the Doors. A little dated and inconsistent, but not bad.

Enjoyed this! Cisco Kid, he breaks wind all the time.

I enjoyed this one. Heavily influenced by Irish tunes, with some Scottish and other regional influences, but nicely balanced with a modern rock element and not tiresome.

Meh. Pretty in pink is well known and OK, but the rest of this didn't really stand out.

Classic and well done, I'm a fan of Cat Stevens. When I first started to listen, I didn't notice I'd selected "Tea for the Tillerman2", which is a modern remake, with a very groovy remake of "Wild World"... also a good album.

I feel like she would have been better served by a better engineered and mixed album. Her 10th album and first with this producer... they should have served her better. Still, good voice, good instincts.

Never been a fan. The portions of this I was willing to listen to didn't change my mind any.

This was alright, but reminded me a lot of Concrete Blonde and if I had a choice between the two I would listen to the latter.

Loved this! Variety, well written, well sung,

This was inventive, outside my normal listening selection, but I definitely enjoyed it.

This album sounds ahead of its time, with lots of variety and styles. Fantastic voice.

I don't like her voice, I don't like the production quality, I respect but don't identify with the feminism, and punk isn't generally a genre I enjoy other than in small doses....but....somehow, this all works. Truly the sum is greater than the parts. I wanted to not like it, but I kind of do. I probably won't listen to it frequently, but I won't avoid it either.

I liked the second half better. This one had to grow on me.

Great sound.

Frank's voice is fantastic, and Antonio is a good accompaniment. This is pretty dated, and not a genre I listen to often, but definitely a great one in its class.

Raw, visceral, and unafraid. Not in my normal listening arena, thus the lower score, but I see what this is accomplishing.

Another prematurely dead singer. A timeless album.

Fantastic mix of guitars, percussion, singing, and organ. A true classic. And their first album!

Other than the first song, pretty forgettable. High 2, but a 2 because I'm not likely to listen again.

Enjoyed this.

Familiar with many of these songs, which shows how classic they are.

Could not finish this one.

Many great songs, great guitar work, debut album, another artist dead too soon.

A little too raw for my tastes.

I thought I knew this whole album but apparently not. Amazing voice, and some exploratory things happening here, some of which were big hits and others were a bit too experimental to become mainstream hits, but definitely artistic.

OK

A bunch of good stuff; I appreciated the longer "Going Home" as the more bluesy variant of the Stones that I've heard of but not heard much of.

Early prog, but pretty good overall. I think the entire band fell asleep during Moonchild and just left a faucet dripping on the cymbals, but they woke up and recovered nicely.

Not a big Springsteen fan. Nonetheless, this album is full of the "classic" Springsteen, evoking a middle-America vibe... I was surprised at how many of the songs on here I was familiar with. A weak three though, since it's not something I'd seek out.

OK, but did not really get into it.

Lots of recognizeable stuff here, and individually, it's not bad, but its all kinda the same and my ears got tired before the end of the album. High 3.

Solid rock, and Lazy is one of my favorites, not to mention the other classics on this album. It's not as refined as Floyd or Rush, but it's a strong play and I enjoy it.

Is this meant to be a joke? Or an ironic satire? Certainly his voice is good, but I feel like I wandered into a lounge in a dystopian noir film.

Does this sooound the SAme? Is this the same fuuuCKIng SOng? Do you wann-a KNO-ow? Can you fucking TEE-eell? I WROTE THEM ALL THE SAME! SO FUCK YOU IF YOU CARE! I DONT GIVE A SHIT 'CAUSE I'M NOT FUCKING SCARED of you so screw you too Does this sooound the SAme? Is this the same fuuuCKIng SOng? Do you wann-a KNO-ow? Can you fucking TEE-eell? [repeat above] I just wrote another song you f'ing pussies. I know Nookie was great, so these should be great, too. . -F. Durst

Pretty good.. up until the last song, that is.

Why no more stars available to use?

I understand the compositional intent. I do not enjoy the industrial rock sound.

Music to forget you are listening to music to.

I needed to hear this. I don't need to hear it again. Now I know there is "music" like this. I know this is not "music". Primus is much better.

This was really enjoyable! I hadn't been familiar with this group before, but I listened to some of their other albums as well and have added them to my regular playlist.

These guys truly are the sultans.

Musical, whimsical, and a nice way to start the day. Not as great as some of the other music from this era, but I definitely enjoyed this.

I just don't groove with the Dead and kept wanting to listen to something else.

I know why Dracula is screaming. I didn't feel like there was a lot of talent or variety here, and I couldn't finish the entire album.

I understand what this is, and it's not for me.

Sound like it was a lot of fun being there, and that energy comes through in the recording.

Good voice, early entry in the genre, but ... a little bland. Doesn't quite have the magic of Depeche Mode or OMD.

Good voice. Clear and strong. I enjoy listening to Joan more than Joni Mitchell, although she's not as good as Karen Carpenter.

One of the classics. The only downside is that this one has been so overplayed over the years, but there's still magic here.

Energy, variety, good solid rock.

nope

Tough, trials of youth and circumstance, but not defeated or nihilistic. While simpler musically than Ye's, I find it much more listenable.

Yeah, these guys were good.

The last song is the best and is on my frequent play list. Sadly, I can't say the same about the rest of the album, even though I want to.

Somewhat dated. There's some good ones in here, but some that haven't stood the test of time as well.

Interesting article about this movie. Curtis has a high, clear voice, and I am into the soul groove, but the story didn't quite capture me.

Lots of fun. "If this don't move your booty, your booty must be dead."

It's "post punk", and I can tell it has roots in punk but it isn't quite so raw. That said, any 5 seconds of any song will pretty much tell you what any other 5 seconds sounds like... identically. They have some decent riffs, but you can't just repeat the same riff 60-100 times and call it a "song". I didn't dislike it, but I won't really be looking to listen to more, so rounding down to a 2.

Less on-target than Rush, but this is pretty much the definition of prog rock.

Perhaps scandalous at the time, but tame by today's standards. Pretty good album overall, and contains the song that lent the title to a book from one of my favorite authors (William Gibson): All Tomorrow's Parties

I had never heard of this group before, but I'm glad they are on this list: I like this album!

This was... different. I had to listen to this a couple of times to shift into the mood it was creating, and then it came into its own.

Not what I was expecting. More jazz rock than anything else?

More mellow than the Mezzanine album. Not bad, but not sure why this is a standout for this list.

It's hard to know what to say: Neil has a distinctive voice that isn't necessarily pleasant, and yet it works and it is hard to imagine anyone else's voice on these. There's a couple of good ones, and then some that just ... are.

I enjoyed some of these, but as the album went on, I enjoyed the totality less.

There's not a large variation musically, but that's fine: the music is good but the star here is the often ironic lyrics juxtaposed with the dreamy and soft music. This album helped me realize John Grant is the GMF and that I could be laughing 65% more of the time.

This is Queen, so I wanted it to be a high rating, but it's early Queen, so it's more mainstream and less than what it will become.

OK, and not a big fan of his voice.

While ZZ Top can sometimes be ponderous and undifferentiated, this is a good album with lots of hits to enjoy, and a good sampling of the genre that ZZ Top is a leader in.

This was OK, but I think I liked the debut album with Nico a bit better.

They haven't fully developed into the full level of Insane in the Membrane, but there's no mistaking that this is Cypress Hill. Not as musically artistic (get a drumline on repeat, drop some repeating bass line, then focus on the lyrics), but engaging and fun (albeit profane).

Some of this is standard Beach Boys, and some of it is pretty experimental. Good Vibrations stands out as being very well developed and richer; the others sound lighter and more whimsical, mostly xylophone and vocal harmonization. Sometimes a kids show or singalong (Vega-Tables, On A Holiday), some a soundtrack for a travel advert (In Blue Hawaii), This album doesn't want to be a big thing, just a bit of occasional whimsy to match its title.

I appreciated the polyrythm, the variety, and the quality.

Makes you move.

A high 4. Unmistakeably the Cure. More reflective and experimental than what I'm used to, but enjoyable even though it's a bit unusual.

This fills a niche and I don't hate it, but I won't be seeking it out either.

Glad to be exposed to this in its deliberate, expositional manner. I have a western ear for music though: it's interesting but not ... comfortable.

There's a lot of complexity to evaluating Beck. No consistent genre or style, lots of exploratory stuff both lyrically and musically, but mostly good as well. Not everything Beck does is something I'd listen to a lot, but it's always interesting.

Eminem is fun and talented, but his dark-side manifestation Slim Shady is pretty grim and a whole album of Slim is rough.

At first this didn't resonate with me at all, but the extended version followed the original album with acoustic versions, which broke the ice. You need to be in a mood for a mid-80's softer and somewhat symphonic approach to things, but I'm now a fan.

A couple of well known hits here, but also very dated, and the rest was nothing special.

More punkish than the other album we had, and a little less to my liking because I'm not as much of a fan of the genre. Aside from that, it was good.

Yes, there's polysyllabic lyrical complexity, but generally this doesn't fall into my limited enjoyment of rap/hip-hop.

There's an intimacy created by her vocals. Both the vocals and songs are well crafted. but lack a little diversity. Well executed, but not a go-to for me.

Quite the story! Has the rawness of sound from it's era, but otherwise enjoyable.

Interesting, definitely a lot of musical influences and styles.

Interesting lyrics, but not a fan of the style.

Stay up all night, slam 4 beers, then as you're falling asleep, slur the random thoughts in your head while harmonizing with a yowling cat. I know... but I just can't get into RH.

Classic, elegant, timeless, smooth.

Pleasant jazz, although it was a bit disorganized on Youtube music.

Occasionally reminded me of Kate Bush, but never as good as Kate. I just didn't get into this one.

Not as cohesive as Purple Rain (to be fair, the latter was essentially a movie), so interesting, usually good, but some of these things are not like the other.

Good hard rock, expressive and solid. Early Axel Rose is like early David Lee Roth in that he knows when a squeal or groan helps add to the music.

At first I didn't like it, but then I ended up listening in my car on the way to work instead of on my earbuds. This album needs to be listened to on a good sound system with subwoofer capabilities. Then, just skip Business as Usual, Dirty Barry, Vermillion Kiss, and perhaps Set the Controls. Then you've got a really nice modern jazz album with some occasional James Bond soundtrack elements. Those tracks to skip make it difficult to give a high rating, but I'm going to go ahead with one because I've really been enjoying the rest of the album for several days of commuting.

A good voice, but I don't enjoy the genre.

I know the 60's were gentler times, but there's a lot of PSA in this album that feels a bit silly at times. It's OK, but I was looking for a riot.

Smear. Overload the electronics to smear out the sound, smear your vocals across the songs. That's my name for this style: smear. It needed to be on this list because it's a style. It's not my style.

While she has a couple of good pop hits, this feels more like teenage girl pop and I couldn't finish the album.

Definitely Echo and the Bunnymen. Not as iconic as some of their later work, but clearly and distinctly their style and a great debut album.

Still recovering from getting beetle-bombed as a kid, but this one is relatively good.

Some interesting variety. Not the best, but decent.

Maybe groundbreaking guitar techniques, and I can see it creating a soundscape (I guess this is "shoegaze") but not one I see myself spending time in often. As one reviewer said: "The warped music is a cool idea and I recommend the album – but not on the basis of the singing or the songs."

Eslo IS the greatest dancer. Lots of fun here!

There's a chart topper and some good stuff, but it feels a little... subdued.

I enjoyed this one.

Tiring in large doses, refreshing in medium doses.

I enjoyed this, and especially the title track.

Some interesting elements, particularly in the title track, but a little unfocused overall to deliver more than a light 3.

Loved this. Yes, I'm an ELO fan.

Highlights the difference between an artist and an entertainer, and Patti is definitely the former. Lots of interesting and experimental stuff here. Not always something you'd enjoy listening to a lot, but that would be entertainment and not art.

The production quality is a little inconsistent, but I appreciate the extra energy from the live performances. Thin Lizzy overall feels a bit ponderous, but there are some good listens here.

OK, but I couldn't really get into it. Killing Me Softly is a great cover, but overall it didn't sync for me.

It's rather long, and recorded in mono, and wasn't as engaging as Tommy, but it was definitely an interesting story and creative... not what I would normally expect from the Kinks. A little 60-ish for regular listening (along with the mono thing), but I definitely appreciated it... high 3.

Really enjoyed this. Good music, and the political messages were well delivered. Shame about the attack: autocrats rule in and with fear. It's also a shame that he had to give up all 28 wives, but it wasn't good for them to be jealous of each other.

Soft and contemplative, but musically rich and well put together.

Too country. This didn't work for me.

As one of the reviews indicated, there's a lot of similarity to Public Image Limited.

I had only been familiar with the pop hits played on the radio, but overall this album is more contemplative, richer, and deeper than I expected.

Interesting juxtaposition between Just Friends and Back To Black, with Tears Dry On Their Own finding the middle spot. And Addicted would be more fun if Amy's lift wasn't so tragic. Good voice and musicality, although a bit same-same.

OK. Often just a smear of sound, which isn't my thing. Some decent stuff, but nothing inspiring, just kind of boring.

I was hopeful based on the title but it took less than 2 seconds of the opening to disabuse me of the expectation of enjoying this. There's an association with R.L. Burnside and while this tries to channel chaotic energy, it falls short. Maybe you had to see these guys in concert?

For all his oddities, Michael was a deeply talented artist and knew how to entertain.

A fair amount of diversity, but I've never been enthralled with this band and this album didn't change that.

Lots of quirky fun.

Difficult to find the full album. These guys seem to be poking a fair bit of fun at themselves and having a good time as well as making some statements. Not too bad, and would have been interesting to see how they developed had they stuck together.

This was a fun one. Nick and his Seeds are pretty inventive, with some good lyrics.

Broad and sweeping. Not bad, although not necessarily a go-to for me.

Pretty classic jazz. Easy to listen to, but no hook to catch on to and remember significantly. Would definitely enjoy this as relaxing background, and sounds well executed, but not something to be foreground listening.

Damn these guys were good.

Good musing to play while concentrating on something to keep the energy going but not be too distracting.

This was really good. I'd only ever heard the hit singles from the album, but I really enjoyed the rest of it as well.

The Who had some good stuff, but it didn't fee like this album really hit those notes. This did feel like it was more of a forced live album than a serendipitous live album. Meh.

I have my sunglasses on, and I'm feeling groovy, but ... this didn't quite groove enough for me.

Nice variety. Not sure what this category is... "atmospheric jazz"? Somewhat contrasting tone to the seriousness of the underlying subject, but I found I enjoyed this.

These songs are filled with emotion and observation of difficult scenarios and topics, but delivered by someone who is confident and secure in their presence and art. There is intention behind every sound and word, unapologetic but not strident, beautifully woven into a bold soundscape.

Very good voice, well put together.

Too weird, sorry Miles.

Decent, but a little silly for my tastes.

Appreciated this different style in the mix, but the recording quality was pretty bad. This might be good on a dance floor, but it's a bit repetitive to just listen to.

Meh

A couple of well known songs to enjoy, and Elvis is creative and highly productive, with elements of Pop and Punk and Country and Rock but I don't hugely enjoy it, and making me listen to 5283278930 of his albums in this book isn't going to change that.

A mix of good and great.

It's showing its age just a little, and some of their other work is a bit better, but this is still an album full of fun 80's vibes and well known hits.

She's using vocal changes and discordancy to increase the artistic element, but it's not working as well as Alanis or Fiona Apple's Bolt Cutters.

Not a fan of punk in general, but recognizing this is the seminal album of the genre.

Tom Petty's overall output would be higher, but there were a few misses on this debut album. Still very good though.

Lullabies for grownups.

I enjoyed this as focus music.

Clear creativity, musicality, and fun.

A little rough for my tastes overall, but I can see where this came from and the environment that led to it and there is talent behind this.

There's some talent and variety here, but it doesn't ever hit the "good" for me. A light 3.

It's not mainstream stuff, but I enjoyed it. For bonus points, it's not on this album, but check out Tom's version of "The Ice Cream Man" from David Lee Roth/Van Halen.

A classic full of classics.

The Stones put out a lot of stuff. Not all of it was good.

Pretty funky.

Better than the name implied.

Even if I were in a dance club, the repetitiveness and inanity of this would annoy me.

Good Cure.

The A side is pretty good, but except for the Ten Cent Pistol, the B side fades pretty quickly.

Better than DarkDancer, but not really into this that much.

Didn't do much for me. A little aimless and soft.

Interesting. I'd only really ever heard Madonna's pop hits before, but this album was much more than that. It started out as a dance club album, but got fairly soft and introspective by the end. The music is varied and good, and the lyrics are well written. Her voice is strong and she sings well.

A couple of great ones, and some reasonably good soul, but not all of them were strong.

An album full of anger and frustration, sometimes beautifully expressed, and sometimes primal noise that only echoes properly in the resonance of personal anguish.

Yes, this is umistakeably Nick Drake.

Similarities to Beck and Radiohead, but definitely in its own experimental space.

Too country. One good hit.

Good stuff, diverse and fun.

The canonical album of hard skater punk for when you need frantic noise. And short enough it was over before it got annoying.

Hadn't really listened to much of her stuff besides the main radio plays: this was better than I'd expected. A good voice, well arranged.

Harder stuff than I normally go for, but this has some musicality and introspection as well.

Boooring

Fun and inventive!

No to my tastes. Does have musical elements, but it's just too soft and passive and banal.

This prog rock album is trying to tell a story that seems to be a Dickens novel, and with occasional exception, the music just doesn't support an effort to follow the story itself.

Fantastic. One of my all time favorites.

Very nice. Kind of like the gold standard that Muzak tries continuously to achieve (and consistently fails): something pleasant that you enjoy.

If you think you missed an MBV concert, just take any vinyl record, put some scratches on it, play it on max volume, leave the room, close the door, go downstairs into the bathroom, close the door, dunk your head in the toilet: now you are listening to m b v. No melody, no lyrics, just a smear of sound on repeat, lacking even tuning.

Irish fun.

OK, but I didn't really get into it.

A fair amount of variety and experimentation on this one.

Not bad, but not enough variety.

To listen to this album, I read about Marcus Garvey (quite a long Wikipedia entry) and the connection between him and Rastafarianism. I think there's a lot of hidden meaning in this album, beyond just the surface lyrics. The music is fine, but not the best Rasta music I've heard, so this leads me to consider this is more of a political album than a musical album, and in that perspective, it comes across as accepting and supporting rather than pugilistic.

At first you wouldn't think her voice would be good for singing, but somehow it actually works well.

OK, got the message: you're a tough guy and gots bitches. Anything else? Not really. I can empathize with the tragic life story, and there's some talent but this just feels like the same message over and over. This is rage and fear and misogyny and uncomfortable. Big Poppa wasn't bad and made me hopeful that the album was taking a turn for the better, and it was followed by Respect which was different and interesting... until the gratuitous ending when the album descended back into the original message.

As I would expect with Bowie: some greats, some strange, and some OK, but well done.

As I would expect with Bowie: some greats, some strange, and some OK, but well done.

Fun.

Don't like the voice, nor the music.

The one and only Tom Waits. Iconic. Strange. Gravelly. This album captures what I know of Tom pretty comprehensively.

Much better than Darkdancer, but not really that engaging.

Clearly has talent, but other than the occasional standout, not really appealing to me.

There's a lot going on here, most of it good.

Some absolute classics, and well done... but it was a little exhausting listening to the *entire* album. This music wants you to maintain an energy, or even a level of outrage that is hard to do without some sort of related provocation.

This one has some real standouts. On the other end, I can't figure out if Country Honk is serious or satire, but I'm leaning towards the latter.

Had trouble listening: youtube wouldn't find the album or the links from here. Was still able to find a couple of songs: fond memories of the 80's!

I hadn't realized Dr. John was so interesting and prolific.

When it started, I thought I was going to hate it, but it actually is pretty good, once you get into the frame.

Classic 80's power rock... fun!

If you booked this band for a teen party, you'd be a hit... from my teen years at least. But there's not a lot of depth or variety here that really moves it out of that sphere. The tantrum on I Was A Teenage Werewolf was not really enjoyable, and the cover of Fever was really weak.

Angry, angsty, depressed, but not well expressed like Alanis' work.

Broody like Roger Waters at times. Interesting.

Bjork carves her own path, visually and audibly. Definitely an artist, taking you to places and experiences you wouldn't normally have, and it's an experience you wouldn't want to have all the time, although you can appreciate it.

Help! I've Fallen and I can't get to the end! Just too long. They are all right, but not great, and this was way too much of them. Without hearing this in close conjunction to the other Fall album we had (which I'm not willing to do right now because I couldn't even get to the end of this one), I don't quite know if there's any real difference between them to know if we are listening to an evolution of them or if this is just the Elvis Costello syndrome.

Great voice.

Really great. Establishes a mood with complex, layered sound that all fits together well and is lead by her voice with great instincts. Especially good listening for gray, rainy days.

It's OK, but I don't really enjoy Alice's exploration of distasteful themes.

Yes and ELP are top competitors in the effort to explore the soundscape elements of prog rock, envisioning an artistic environment not physical but sonic, woven together and undulating to carry the listener on flights through fantastical realms. Sometimes these work, and work well, such as with Roundabout, but often the listener is left behind, having missed the flight, confused and disappointed. If are in the mood to get taken along on the flight though, it can be enjoyable. Three stars, with an extra one for creativity.

This is the more commercial Aerosmith, but this is a lot of good energy and good tunes, with Tyler giving DLR good competition.

Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why I kept listening to this repetitive dribble. Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why Don't know why

Good energy, '80s references, and fun.

A little "muddy" in sound, but generally good, built around the lead's voice.

Neil Young and Crazy Voice (& Crazy Horse) is always interesting, not always great, and that was this album in a nutshell.

Portland's version of 90's grunge: a little more laid back than the Seattle version, but fits right in.

A bit of B-52's and Meatloaf and Nirvana, recast into a more electronic soundscape form, usually dance, but sometimes just melodramatic.

I had been unaware of Marianne until this came up on the list. Pretty tragic life, but it's made her unafraid in her singing. She doesn't try to hide her voice, nor over-emphasize it, it is just hers, and this adds a bit of raw emotion to the singing.

It's hard to figure out what to say about the Lemonheads. Decent stuff, pretty standard for its era, but nothing super engaging. If this came on the radio, I'd be fine with it, but I don't really see myself saying "hey, I really want to listen to some Lemonheads right now".

One of the challenges of this list is that the albums have a different "mood" and aligning the listener's mood with that of the album can sometimes be a pre-requisite for the album. Once I was ready for this, it was not bad. I don't know how well it reflects regional music elements, but it did feel like what I imagined a sultry Brazil would have for a soundtrack.

Had never heard of Jane Weaver. Generally good, although sometimes the high pitch of her voice while singing is a little too much.

Wants to be Radiohead

This album was apparently revolutionary, but you really need to be in context. The VCR was revolutionary as well, but neither has aged well. It was OK, but their later stuff was better.

Fine as background music, didn't really pull me in though.

Much better than the country version of The Byrds, although that sometimes seeps through. Light, late 60's music, upbeat and catchy in that style.

The lyrics and melodies get a little repetitious at times, lacking the sophistication of Synchronicity, but still good.

Eh.

The crooning delivery here doesn't carry the themes as well as the harder sounds of the Smiths. And some of the songs are whinging about British experiences that don't provide as much to a non-Brit lacking the context. Appreciated his America song though.

Pretty good debut album. Clearly Dave likes loud noise, and some of these weren't so good, but good to see this rebirth from the ashes of Nirvana.

This one was hard to rate. Some of the songs are enjoyable. Some are fine... until about halfway through when they just become a noise generator (The Individual). Some of the songs I really just didn't like at all (Cool Waves). This album also has one of the longest songs I've run into (17:01) and it's not bad.

One or two good ones, the rest just didn't impress.

Some of the songs are so good they've been overplayed and become slightly tiresome, but that's not R.E.M.'s fault.

Follows the arc of a man's angst over his divorce and subsequent re-engagement with life. It was ok as an artistic exploration of emotions, but not something I really think I'd come back and listen to again.

Definitely an artistic expression. While the subject is particularly distasteful during the throes of the post-Epstien reveals, it's possible to appreciate the intent was to shock and scandalize and hold up a light on the darker side of man's nature as embedded in the ground-breaking and rich phonic approach.

Strong 3, verging on 4, very much along the lines of the Toures's work.

Maybe I just wasn't in the right mood? Nothing here was bad, but I kept checking to see how much more there was so I could listen to something else.

I enjoyed this one, thank you list! I was reminded a bit of Guy Forsythe (especially on Three Great Alabama Icons). I'll be keeping these guys on my rotation. Aaaalmost a 5...

OK I guess, but as a soundtrack it's trying to create a mood to pair with the story, and I don't know the story, so I didn't have good references for listening to this.

It's varied and different.

Perhaps 1920's Berlin, but that's not my style. Very dramatic though.

Could only listen to a couple of songs. Really do no like this genre.

Definitely 80s music, but sometimes it feels like it searching for a good tune and not quite finding it. The singer's tonality also feels a little overly-dramatic at times.

The interludes with the teacher are the best part.

Did not like.

The creator of this list really likes punk.

I'm not a fan of country.. but this wasn't bad. It's upbeat, light, doesn't take itself too seriously, and he sings well. I now have two country singers I don't mind listening to: Buck Owens and Willie Nelson.

Reminds me a little of D-squad.

Art. Not sure about those fishcakes though.

These guys don't take themselves seriously and neither should you. They can swing, they'll make you dance and sing, they got no style and no taste, they dance, sweat, and stink.

Cheerful, but I didn't really get into it.

There's a lot going on here, and it's crafted well.

I like the descriptive, reflective lyrics, which he delivers well with his baritone. Somewhat of a Knopfler style, although less musically developed.

Eh. Not bad, but doesn't seem like anything special. Maybe it was more important in the context of its time, but that would need a lateral and chronological analysis rather than the random sampling here. Which leads me to my next question: do we really need *more* Stooges on this list?

His flat, nasal voice is sometimes a little too much, but overall good. Bullet with Butterfly Wings is one of those tragically overplayed songs that begins to lose a bit of appeal due to that overplaying.

Would like a little more variety in her singing.

Very original.

death thrash bad. ugly sounds. music only ok but same same same. turned off.

Amazing amount of talent from these two (Taupin and John).

Impressive (second) debut album. Very 80's, but Cyndi expresses it well.

Heading towards his really funky period, but not there yet.

Trending toward the washed-out style of 2000 and 2010 music that I don't like, but this isn't bad, especially if you think of it as music to dance to.

Sometimes experiments just don't work. We can see it was an experiment, respect the experimenters for their attempt to explore new things, record it as an experiment, then move on to better things.

Nothing stands out, but solid Bowie.

Not as good as some of their later work, but still on target.

It's better than the other Morrissey album we had, although it doesn't feel as on-target as The Smiths. On the whole, this shows that Morrissey is a capable artist and his uniquely blase view of desperation and depression are part of the zeitgeist of the 80's, but I'm not sure he's worth multiple entries in this list. And of course, as a person, he's shite.

Macabre and unfocused. Probably a statement of its time, but I'm not sure I'd listen again.

Good, but not really a goto for me.

Smart, well done.

Just can't get into thisl

Better than some other prog rock. This genre is apparently geared towards the length of the typical acid trip though.

Good singer: check Entertainer: check Good music: check Relationship councilor: check Funny: check There should be a lot more B.B. King on this list!

Shows off Paul's range and artistry, and I like his exploration of world music styles. Not all of it is great, but he definitely belongs on this list.

Fronted by Robyn Hitchcock (my familiarity was initially via "Balloon Man") although his singing style here is more "in the mouth" around the vowels. Not sure why this wasn't better received at the time; there was nothing here I found to be a standout, but it was fine and fit with the period it came from.

Maybe history doesn't look kindly on the early progenitors of a style, but more kindly on those that perfect the style, and Blue Cheer didn't do that.

Interesting and exploratory. A different mood, but good in that context.

There's better NIN (esp. Nine Inch Noize from 2026 Coachella), but there's some good ones here, and this is carving out it's own distinctive niche in the grunge genre.

The vocals were too soft: he wants to draw you in but it just feels like he's whispering so he doesn't wake anyone up. It was OK, but were there multiple songs or was it just one long one? Moody, but didn't engage enough to hold me.

Thought I heard some portions of Doggystyle, but that came out a year later. It's decent rap from an angry man, but not my thing.

Sometimes Bond-esque, but sometimes just overwrought. OK if you're in the mood.

Just seems like a playboy boy, without much depth, and without the ability to transcend like Michael had.

Like a better Radiohead.

I'm not generally a fan of country, but Willie is definitely a standout and one of the few artists of the genre that I enjoy... in limited quantities.

One big hit, but the rest is pretty enjoyable as well.

Appreciate being introduced to Veloso and the Brazilian Tropicalia scene.

Definition of caterwauling?

Enjoyed this one, creatively scened and funny!

I believe this is ... yes ... reggae. Weed, love, oppression, and especially oppression of weed love, yah?

I'm actually not a huge fan of Lemmy's voice and the overdriven mushy guitar sound.

Not so sure about Voodoo Dolly, but some good songs and some average songs, but overall a distinctive and appealing presence.

The unusual punctuation in their name is a signal that this group isn't going to be normal. Not sure what my long-term feel will be on these guys yet..,