1001 Albums Summary

Have never been a big reggae fan but this definitely challenged my tastes in a good way. Some very interesting layering and Bobs voice is incredible.

Really fun album. Just the right amount of cheesiness. Dickerson’s voice is great and Adrian Smith guitar parts are very fun. Love the prog rock aspects and the themed lyrics.

Great album front to back. Such interesting recording. Can definitely hear the influence on Radiohead - love the atmospheric stuff pulsed by more straight rock songs like time and money. Can see myself listening to this again sometime, but less relisten value only because I would need to pay more attention than just listen passively.

Wonderful album from front to back. Not a dud in the bunch. Harmonies are amazing. Rockers are good and the ballads are just as good.

Honestly a lot less exciting than I expected. Songs are a little dragged out and sounds a little flat. A lot fewer surprises on this album compared to the others I’ve heard this week. Know this is a foundational album - I’ll give it a few more listens!

Fun album overall. Really like Try and Love Again.

Fun nostalgia album

The first very unexpected find. Might not be an enjoyable listen all of the time, but it was tonight. Sounds of Radiohead for sure, and surprisingly modern given the release date. Excited to hear more of this band someday.

Good beats but way too long. Somewhere between a 2 and 3 but not everything can hit! Fun enough for one listen through, but I had never heard it until now, so couldn’t rely on nostalgia to carry me through this one. Probably no relisten.

A bit of a snooze at first listen, but really grows after a few more through.

Love Stevie but not a super consistent album overall.

Really enjoyed the first half of the album. Would give 3.5 if able. Think I like Exodus a bit more. Like High Tide a lot.

Some good sounds and even some decent tracks but doesn’t feel like it ever takes off.

This one started out as a 2 or so for me, but after a couple of relistens, notched its way up. By that point found very few duds in the bunch and the whole album holds together so well. Definitely raw, but you can hear the building blocks of where they, and the other bands they influenced, are going. Looking forward to more of the catalog.

Fun album overall. Very easy listening.

Love this album. Great 80s vibe and much more punk sound than I expected. 4.5 rounded up to a 5. Great band!

Wonderful live album. Loved the shorter original version, and the longer play added some fun live elements to it as well. So many great sax solos.

Nope nope nope. So boring. Not a single song worth going back to.

Like the idea overall. Great musicians, nice song writing, but the album just doesn't hang together that. I wanted it to either be catchier or weirder and doesn't feel like it went in either direction.

Who made this list? Make it stop.

Very enjoyable but a little repetitive.

Really fun band. Surprised by this album - great mix of prog rock and other genres.

Nice listen but not much variety. Not a huge fan of reggae and this doesn’t feel like an essential album from the genre.

Knew the name and a few songs but hadn’t dug in. Beautiful album from top to bottom. Love the guitar work with backing instrumentation, especially the piano tracks. Enough familiar folk sounds to hold onto, with some unexpected layers. Stand out was Hotline Bling.

Had a bit of trouble at first getting past what sounds like kind of a muddier mix? But love the songs - Sabbath references are fun. Step On Me was a highlight. Some sounds of Mitski, Beths, Big Thief throughout. So much more than just Lovefool.

Nice mix of some raw and some more polished songs. Not too easy on the ears at times, but the tension tends to finds a quick enough resolution. I gravitate toward the mellow moments in the end - Dumb and All Apologies stand out.

Cornell has a great voice but I can’t seem to get into this. Feels like every song is the same on this very long album, musically and lyrically not very interesting.

Found the vocals pretty annoying and the guitar style just not my thing. Sounded much more dated than other grunge albums we’ve been suggested - and man have there been a lot lately.

Three sad grunge albums followed up by the BLUES, talk about kicking a man while he’s down. BB brings so much emotion into simple his vocal melodies and guitar licks. It’s My Own Faul stands out but it’s a short album that has few dull moments. Fun to hear the interplay with the crowd and think about this being performed live in Chicago. Extra points for some really helpful advice to not go upside your woman on the head.

Love the introduction and title track - Night Life. What an amazing song. Get’s a little repetitive from there, but Ray’s vocals shine throughout. Had no idea this was Willie’s beginnings in music!

Very weird and very fun. Probably something I will put on a ton, but really enjoyed it as an album.

Sad stuff but always love his songwriting, and influenced so much of what I like today. Goes beyond singer songwriter stuff, interesting chord progressions and layered instrumentation. The early part of the album starts off so strong and feels like it stretches a bit at times in the middle, but overall really like the pacing.

Was never huge on 80s synth stuff, but am starting to like it a lot more, branching out from the earlier Go Gos album. Thought Last Chance on the Stairway was the biggest surprise on this one and am also surprised it wasn’t a single. Found the third single, Save a Prayer, a little boring.

Remember really loving this album when it came in college, listened to it a ton on the pre-Spotify streaming platform Grooveshark. Thought it would be an easy 5, but just found it a lot more boring than I remember. Kind of crazy that this album is on this list but not a single Vampire Weekend album made it. Still love the band and their sound.

Mostly a boring slog and a chore to get through. Some interesting moments in the instrumentals, especially great drumming, but Damon’s vocals and melodies just really don’t do it for me.

Elvis loomed large in my childhood. In third grade music class, we spent an entire month on an Elvis module. Mrs. M believed he had faked his death to escape his celebrity status, and she made a bunch of nine year olds sit cross legged on the floor and watch a documentary about how it was actually a wax body in the casket. My first encounter with a good conspiracy theory. Later in high school, Brian would regularly perform Elvis songs with a pretty great Elvis impression at all-school assemblies. And at Sunday mass with my family, there was always an off-duty Elvis impersonator in the congregation, doing his best to blend in with jeans and a t-shirt, but given away by his huge black-dyed pompadour. To the music, I always thought Elvis was incredibly corny - an over the top personality who doesn’t even write his own songs. But I really enjoyed going through this album. I love his voice, even the silly Elvis vibrato, and his arrangements (which I believe he had a bigger part in) really bring to life some rather simple songs. Long Black Limousine, True Love, and Suspicious Minds stand out. Somewhere between 4 and 5 stars for this album, with an extra bump for nostalgia. As Mrs. M said, the king is alive.

Disc one was pretty close to a 5 for me, loved almost all of it, such great blend of loud and soft tunes. Loved Muzzle and the singles. Disc 2 felt like much more of a drag and didn’t really hit its stride as much. Plan to return to this one though, as there seems to be more here. Listened to this one live from their hometown of Chicago!

Love pop punk, but was never a massive Green Day fan and kind of thought their newer stuff was a little lame. After listening to this one, I think my only major gripe is how overplayed so much of this album was growing up, and how everything on this album sounds like it’s trying to be an anthem. But the songs are great and I love the double song, Rock opera thing. Had never heard Are We The Waiting / St Jimmy - liked that one in addition to some of the singles.

This album ROCKS - I’m sure - but just found it a little boring and even annoying at times. Some great songs on here but not enough to carry the album.

Some cool moments on here. Catchy bass lines and some horn parts. Feels a little aimless in the end, likes it’s not building toward anything. Wanted to rate it higher.

Side A is flawless - and a great summer album.

Definitely an important album in the overall Bowie story, even if not musically the most interesting. Some nice songs on here - first few tracks stand out - love almost all instrumentals across the album.

Hell of a voice but just a little too corny. Needs more Limp Bizkit covers.

I had seen the band name in passing (and unfortunately have heard the No Doubt cover of It’s My Life) but had never looked into their story or catalogue. From what I’ve read, this was a transition album from Brit synth pop to a less structured style, which didn’t come into full view until the next two albums Spirit of Eden and Laughing Stock, neither of which are on this list. Just an insane trajectory of reinvention for a band that seemed to be on a fast path to a more commercial life. I think this band and album may be my favorite new discovery from this list so far. I love the way they play with volume and space in the arrangements, and the vocal melodies have some unexpected turns without sounding too arty - jazz influenced but keeping some of the pop and rock footing. Clear influence on later bands like Radiohead and Slowdive. I listened to Spirit of Eden and Laughing Stock as well, and think Spirit is probably my favorite of the three but this one is definitely the catchiest and most upbeat.

This album came out a year or two before I started finding and listening to my own music and for whatever reason I never listened to this one cover to cover beyond the singles. I grew up knowing Wyclef and Lauren Hill more as solo artists. I don’t know hip hop well enough, but love 90s stuff and thought this was super fun. Love the Beast and the Score.

Tried to come into this with an open mind but in the end just really don’t care for Metallica, such a self-serious band - if I’m going to listen to metal give me a little more prog rock mixed in, like some MAIDEN. Symphony was cool, but would rather just hear them on their own.

Really love just about anything Jack White touches. Great song writer, guitarist, and singer. One of my favorite guitar tones today and so recognizable. Probably prefer Raconteurs stuff out of all of it, as I like the more Americana southern rock stuff, and also has a more interesting rhythm section than just Meg, but it’s just all so so good across the board. With how much Jack was influenced by, and maybe even ripped off Zep/Plant, now feels like the appropriate time to publicly walk by my low rating of Physical Graffiti, after many more listens. That album is really damn good, and I clearly need to listen to more of them.

Feels like there’s a bit too much to “get” here and not enough to enjoy. A bit of a frustrating listen, as SY has always been on my list of bands I should probably dive deeper into. I like a lot of their contemporaries and bands they’ve influenced, but gave this a few listens and can’t really break through, beyond a few songs - Schizophrenia, Catholic Block, Tuff Gnarl. Overall like the guitar layering and pushing of dissonance, but doesn’t really hang together as an album.

Grew up listening to and seeing a lot of Bruce. Saw him with my dad on the Rising tour in 2002. At college in Philly, it was kind of an obligation to have some Bruce knowledge, saw him play the final show at NY Giants stadium, and later the final show at Philly Spectrum. More recently saw him in SF with “The Sheriff”. I’ve mostly gravitated toward the full band songs and albums, and haven’t spent a lot of time with the quieter stripped down albums like Nebraska and Tom Joad beyond the hits like Atlantic City. Tried to listen to this first during the day as background, and that just didn’t work at all. This is definitely a dark nighttime album - hey it starts with a song about a murderer going to the electric chair. After a closer and slower listen, really enjoyed the songwriting, simple production, and economical storytelling. I don’t think it’s something I’ll come back to a ton, but I’m happy I finally took the time to go through it. Highlight for me is still Atlantic City, but also enjoyed Nebraska, Highway Patrolman, and State Trooper.

Enjoyed the first couple of songs. Tight drums and bass throughout and fun English mod vibe. Album felt very average overall and not something I would seek out later.

Fun grooves and solos of a little repetitive. Fun break from the US/UK shuffle of the list. Closer to a 3.5 for me, rounding up for variety.

The boys. They’re back.

Loved Snoop and this album as a kid so much. Such an iconic album cover too. Still super fun, but felt like a lot of filler too. Somewhere between a 3 and 4 for me.

Wikipedia on this guy is pretty dicey - sounds like the R. Kelly of the Congo. Separating art from artist, some really fun grooves and great voice on Koffi. So many similarities with Vampire Weekend (learned Kwassa Kwassa from their song Cape Cod is named after a Congo dance) and way more obviously Paul Simon Graceland - sucker for the little looped arpeggiated licks with the bright guitar tone you hear across the three of these guys. Stars for this album, but also just for opening up a new genre/region - have really only heard Fela and Amadou & Miriam previously - would be interested to hear artists more related to this style.

A little corny at times, but the 90s were just so damn fun.

Was listening to this album on the elliptical when some asshole drove his car through my front door and started seducing my wife. All I really know of Cohen is Hallelujah, that he was with Joni Mitchell for a bit, and that he influenced a ton of today’s songwriters - Isakov and the National for sure. The title track is incredible - will definitely be coming back to it. Overall, this is more poetry set over music. I went back and listened to a bit of Cohen’s old stuff and this album does seem to have more musical structure and movement than some of this earlier tracks. Not that one can compare, but thought this album was much more memorable than Bowie’s later-life albums. Kind of the perfect album for a foggy September weekend in San Francisco.

Expected much more of a classic. Opening title track set the bar but the rest of the album felt pretty generic. Green’s vocals are certainly awesome, but the melodies felt kind of aimless. Very soulful but almost no hooks. Maybe I just don’t know what to listen for in this one and will end up eating my words later.

This was the worst thing to happen to me in a long time. I honestly can’t believe I sat through it all. The lowlights eventually became the highlights: I’ve never heard a song as bad as All In the Family. There was nothing redeeming happening on this album.

Kind of like the Fatboy Slim of India - fun grooves and interesting, just not sure I needed it. Would be interested to hear more in the genre though.

After a week of Korn and sitar covers, feels like we deserved this. I'd put Peter Gabriel and Genesis pretty high up on the list of bands that I knew I needed to hear more than I had, and drew me to slog through this list. Sledgehammer is obviously a total classic, maybe one of the best songs of all time - instantly takes me back to some of the best wedding dance floors of the last ten years. Some other tracks that stood out on their own - That Voice Again, Big Time, and even Don't Give Up somehow rocks in the end. There are some songs that I would call filler on a bad day - like Mercy Street - but I think they help the pacing and add up to a full album. Not every song can be a sledgehammer. This is the Picture is definitely "filler" but also a nice reminder from Pete that - yeah, this might be a commercially successful album, but I'm still a big fucking weirdo and I have to tell you about some excellent birds. And of course, In Your Eyes. This is live version is one of my favorite YouTube videos of all time: https://www.youtube.com/watch?v=evN6DIGPIJM - such a goofy and talented dude. Went down a bit of a rabbit hole on the personnel on this album: Kate Bush on vocals, Stewart Copeland for some reason only on the hi-hat. And the violinist - L. Shankar (no relation to the Shankars) - also played in a band called Jonathan Davis and the SFA. Yes, Jonathan Davis of Korn, and the "Simply Fucking Amazings". It's like the seven degrees of Kevin Bacon, but every artist ends up leading back to Korn.

Big nostalgia album for me - listened to this and other Sufjan in college, and in Chicago after graduation. I think he’s just super talented as an arranger, and love hearing some pretty simple ideas develop. Only complaint here is the end of the album feels like it drags and doesn’t explore much new space. Frank, at the same time you nailed it. I listened to this while cleaning the kitchen with my wife this evening, and we had a very full compost bag.

Opening title track absolutely rips, Garfunkel has such a smooth upper register, just an all-timer. The rest is basically a greatest hits album. Is it a little soft and inoffensive? Sure, but these are great tunes, and I’ll always love Paul Simon. That’s three fives in a row for me - I guess I’m a little easy to please.

Ended up liking this more in the end than when I first put it on. Fun sampling, obviously experimental for the time, and foundational for stuff to come. Found myself grooving a bit to a few of these, especially the ones that sound a little more like Talking Heads - Regiment, Help Me Somebody. Good background music. Torn somewhere between a 3 and 4 on this but will pull back because I realistically won’t come back to this - but enjoyed the ride and happy I heard it. Now more familiar with Eno beyond the crossword puzzle.

Thought this was pretty cool - lots of similarities with Tull. Funny to hear the Kanye sample source here. Fripp also played guitar on the Eno/Byrne record - this was better!

Fun sounds from the same collective as Tribe. Feelin' Alright stood out, and I had fun throughout the rest, but it was a bit of a blur, other than Know Your Own History, which stood out as being, well, not good. Overall, not something I'll return to, but cool to hear some of the wider context of the era - funny to learn that Queen Latifah also came from this same collective.

I fell asleep every time I tried to get through this - one time at 2pm in the middle of the work day.

Bowie is one of those artists I’ve heard a lot of but haven’t done the full albums, but have been intending to. I only really knew Young Americans, Fame, and Across coming in. Reading more about him when we listened to Next Day (which I didn’t love) know that he has reinvented himself a few times and this was a bit of a soul-inspired phase. I think I like this Bowie sound the most, but I’m sure that will evolve as I get more into the discography. Thinking about the previous note that Sufjan needed to let loose on the vocals a bit, and this really brings that into focus: just so impressive how expressive and free Bowie is, so hard to capture that on record. The whole album feels so organic. Had to be fun as hell to be in that session with him and Lennon. This session player on the sax really brings it together, and looks like he’s played on just a ridiculous number of other big albums from the era. Have already listened to this one three times today and don’t know how or when I’m going to stop.

This is an audio-only recording of the Blue Man Group

Solid and beautiful live album. I tend to prefer instrumental jazz overall, but this was very pleasant.

I’ll admit that despite playing a lot of guitar growing up, I was for whatever reason just not that into Hendrix. Maybe it’s my first guitar teacher who said Hendrix is overrated (I think he was super into Steely Dan). This album is not really what I expected, and took a lot of listens to really figure out if I liked it or not. I thought it would be more of a blues rocker, and had it on during a run. Got a couple of miles in and Mermaid came on - not exactly a pump up song. At first listen, I found the whole thing kind of chaotic and disjointed, and there are a lot of spots where Jimmy is playing sloppy/free that I found tough to get past. After reading about how chaotic the production process was (more of an acid field party than a structured session) the vibe made more sense. It help to break it up into the four sides - side 1 is bluesy, side 2 is the most accessible, side 3 is weird and awesome, and side 4 brings it home. Also helped for me to realize that Jimmy attacked the guitar in such a unique way, especially for the time. Its not always technically insane or perfectly executed, but so expressive in phrasing and pushed tone of amp and rig to new places. Also realized from Mermaid and Lamp that he’s just a really cool songwriter. I have a lot more respect for him after rabbit holing on this album this weekend - jumping from a 3 to maybe a 4.5. Giving it a 5 more as a bookmark of an album and artist I know I need to hear more.

Interesting to read their story, and some cool connections to western music - sort of discovered by the Yeah Yeah Yeahs, played alot of the big festivals, and opened for Alabama Shakes in NYC. Spotify happened to auto-play their newer 2020 album "Optimisme" after this one, and it's a completely different band. These influences above come out so much more. Obviously something sounding western shouldn't be the bar, but this album brings through the blues sounds and guitar chops so much more, while still keeping some of the west African rhythms and licks. And it rocks - especially the opening track "Bandala". Music in Exile wasn't really my thing, but will give these guys some stars as a band overall, and because we could be distant Hoy cousins.

Knew G Thang and Bitches Ain’t Shit (probably heard the Ben Folds cover more than the original). Enjoyed Lyrical Gangbang as new track to me. Great production quality and some more interesting backing tracks than other stuff from the era. Overall thought this was kind of lame though and not as fun as Snoop or the other 90s rap. Snoop really carried a lot of these songs.

This might be a controversial pick - but I just love alt-country stuff - early Wilco like AM and Summerteeth, Son Volt, Drive-by Truckers. Lots of similarities to those guys in the Puppets, though just alot of more punk on top of it. This was one of Cobain's favorite bands - they played a bunch of their songs on MTV Unplugged. Yeah, some of these songs are pretty annoying at first (and second and third listen), but overall I'm super into it. The instrumental tracks are the highlights for me - Aurora Borealis, Mindless Idiot, 100% of Nothing. Pretty close to a 5 for me.

Pretty fun listen but nothing stood out at all.

I’ve always been interested in hearing more PJ Harvey, seems like a super talented songwriter and definitely in my wheelhouse on paper, but this album felt like it never really took off. I think one of my issues with this generator is that it can drop you into an artists catalogue anywhere in their journey - in many cases it seems to have given us the most recent/last one first. I might have appreciated this album a bit more if I had more context on the progression. I skipped around on a few of her other top songs and am still interested to hear more.

I'm pretty torn on this one. Part of me is saying, hell yeah a total classic. Another part of me is saying, holy cow this is kind of a sterile, over-produced snooze. The songs are perfect, but almost too perfect, like there are too few moments where you feel like you're listening to a real band and not a synth backing track. Could use just a little more energy and emotion throughout. That said, this was super fun to listen to overall - incredible headphones album. You can hear literally every instrument crystal clear. Liking the B side more, probably because it has more guitar solos. I know I could end up liking this alot more with some additional listens. And now when Aja comes up in the crossword, I'll know what I'm talking about.

Foundational band for a lot of other stuff I like today. Have listened to a lot of their other albums. Most of these songs were super solid, I just think I prefer them in slightly smaller doses. Love the A side. Stars for Morrissey’s growling on track one. Johnny Marr is such a classic rockstar too - impressive range of projects since the Smiths.

Old country is just so cool. Liked this more than Ray Price, but this really made me want to go back and listen to Elvis, which I did, and it was great. Overall this album never really gets past good vibes, for me.

Actually liked this more than What’s Going On - super compelling conceptually, musically and lyrically. The whole thing is just so damn sad though, so need to dock a star because I don’t think I can will come back to this too often. Was also thinking, you’re a young college boy, bring a nice girl back to your place and throw a little Marvin on shuffle to set the mood, just to get hit with 90 minutes or divorce jamz.

Grew up listening to Eagles. Have seen Eagles. Thought I liked Eagles. I think I still enjoy the hits, despite them being objectively soft, but man I was surprised that this just did not hit. Made me want to go blast some Skynard.

Teeters on cheesy but Eddie saves it every time.

LCD was one of the first shows I saw with my wife, back in 2017 at Brooklyn Steel - just a great live act. I don’t really care for pure electronic music in general, but I love when a band can pull off that sound and vibe with a full band. I also love a full circle/serendipity moment - this was the assigned album on the day my first kid was born - two days ago, over seven years after that first show with my wife. I only got through a few songs in the morning when I went to grab coffees, before things got real. And here I am a few days later back home listening to New York I Love You with him sleeping on my chest. So far fatherhood gets 5 out of 5 stars, and I can’t give his first album anything less. Can’t wait to introduce him to Kollaps.

This album also threw me back to memories of first discovering my parents very limited CD collection in kindergarten. This album cover is absolutely seared into my mind, along with a few of the well known greatest hits albums - Seger, Eagles. My parents had incredibly simple music tastes - they were both focused on school for too many years when the great music from their generation was stirring up. My dad, heads down in med school at the time, once asked Jerry Harrison from the Talking Heads if they play a lot of shows around Milwaukee, thinking they were a local act. Despite that, he knew I was into music (or at least saw I sucked at sports) and was always interested in listening to or talking about music with me. He went way out of his way to take me to shows from a young age. First show I ever saw, in third grade, we were eating pizza together across from where the Goo Goo Dolls were playing, and he suggested we go, on a school night. He took me to a few Dave Matthews shows before I even finished grade school, later saw McCartney, more recently the Stones. I hadn’t thought about it in a long time, but seeing this album cover reminded me of that very small stack of CDs - the 90s parents canon of sorts. Makes me re-appreciate the interest he took in discovering new music along with me. As for this album and music, man I still love 90s music so much, and this album is a perfect time capsule of that era.

So modern sounding for an album from ‘64. This album hit so much harder than I thought it would. I would marry Dusty Springfield, fuck Buffalo Springfield, and kill Rick Springfield. Sorry, was that not the question?

Dark Side was one of the first albums served through this site, in the first couple of weeks I was doing this alone. At the time I gave it a 4 - thought I needed to leave room in the ceiling. I would give it a 5 now. I really like prog rock, through composed stuff, and albums that hang together beyond individual hits. I didn’t realize how much of a full album band Pink Floyd is, probably why I never really “got” them. They’re kind of the perfect band for this process of slowing down to listen to the whole thing. Maybe I’ll end up reranking this as well, enjoyed this a lot - man I love the title track - but didn’t really enjoy this as much as Darkside.

A weird and fun ride. Dark but somehow also jubilant. Felt like it could be a Broadway soundtrack in story, mix of styles, pacing - and well, length. Nature Boy:A Ric Flair Story. I loved this.

In high school, after Napster got shut down and before Spotify launched, I would borrow stacks of albums from the library and rip them to my computer and load them on my iPod Classic - simpler times. Cash is one that I remember well from that loot. I guess the whole prison marketing thing may be a little questionable in hindsight but these guys sound like they’re having a pretty rowdy time, and I am too.

Tight race between this album and Main Street for favorite Stones album. This one is so tight.

I could maybe do one of these tracks - Fight for Your Right or No Sleep - on a playlist as a fun throw back. A whole album of this shit is honestly so much worse than I expected. Anything redeeming I would have to say about it is offset by how mad I am I listened to this whole thing.

This was bad. A couple of redeeming things I can say about this: they seemed ahead of their time - really sound like a generic 90s band in the 70s. And Lilywhite is one of the first producers I ever knew by name, cool to hear his early work, before he went on to make more listenable music. Some nice moments in the instrumentals. I have a very high tolerance for bad/unconventional vocals, if the melodies are there and the lyrics seem worthwhile - this misses the mark.

Gave this several listens expecting to get to a 5 eventually, and I’m close but just not enough killer songs in the end for my taste. Love Boogie On, You Haven’t Done Nothin, They Won’t Go, and Please Don’t Go. The rest are good but not songs I would go back to a ton. Story here is super interesting - first album back after his big accident. Also went down a rabbit hole watching YouTube videos on his TONTO synth, that thing is freaking massive.

Great vibe and foundational for almost everything we listen to today - Elvis, Beatles and all of the artists they influenced. In that light, feels like a crime to not give this 5 stars, but don’t see this being in a regular rotation if I’m being totally honest - good dinner party album though. Favorite track was So Long.

My Dylan knowledge probably only goes 20-30 songs deep, and hadn’t heard this one. At first, thought another old man album, like we’ve heard before - Bowie, Cohen. I’ve liked it more after a few listens, and reading a little more about the story behind it. A successful comeback album after many years playing his same songs on tour. Songs were written shortly after Jerry’s passing, so lots of songs about how things eventually come to an end. As for the music, getting Tom Waits vibes in tone and production. Lanois has so many big production credits, and actually this was my first time learning that he and Eno did Joshua Tree together. Agree these songs could use a little editorial.

This was weird and fun. Don’t even recognize the name of this band. Contemporary with punk, but ahead of their time - sounds more post punk like Talking Heads, early Modest Mouse, or, more modern, Parquet Courts. I love this stuff. Clean guitars, bass high in the mix. Messy and noisy, but finds a way to keep the wheels on - until the last few songs I suppose. Maybe a little too arty for me to return to super regularly or to play around the house, but it was great for a couple of spins with headphones on. Highlights for me are Chinese Radiation, Street Waves, and Over My Head. Great as a complete album piece. Also, newcomer Frank 2/Fascist Frank found this amazing rule book the band/collective wrote: https://www.ubuprojex.com/facts/uburules.html

Of the two we’ve gotten so far, I prefer Physical Graffiti by quite an bit. At the time I didn’t really enjoy that album but it’s one of my top replays overall since. This is an interesting side of LZ with the shift to more acoustic guitar-led songs. I’d be lying if I said I didn’t miss the rhythm section a bit in the back half, it just doesn’t rock as hard as PG, but it’s nice as an album that stretched their sound. Tangerine is one of my favorites, and have always loved Immigrant Song. The slow burn to the peak of Since I’ve Been Loving You into Tiles hits so hard. Cool as hell to think about Page and Plant, fresh off a huge tour, hanging out at a family cabin off the grid, going on walks by the pond and writing many of these songs together. The classic rock junkies in this group will have more interesting takes here I’m sure. I’ll just be over here listening to Pere Ubu.

I started learning and became obsessed with guitar in fifth grade. My Catholic grade school didn’t have a jazz band, but we were a few blocks from the public middle school, and my dad was friendly with their band director, Mr O, who let me “audition” for and join the band in 7th grade. A few mornings a week, my dad would drop me at the public school at 7am, and after practice I would lug my guitar to my school down the street - even in the Iowa winters. I didn’t really know much about jazz at the time - still know only a drop in the bucket - but Mr O was this super passionate, light hearted, and sincere guy who made everyone want to learn and get better. He would stay after school on Fridays to host bonus jam sessions with a smaller group and booked us monthly gigs at the local wine/pizza bar to play to a crowd of slightly drunk parents and their friends. Mr O had a way of making very awkward middle schoolers feel cool and important. After my “audition” he sent me home with a CD I had to listen to to get started with jazz/funk - that album?Drops of Jupiter by Train.

Chrissie Hynde is an interesting character, loved reading her Wikipedia. Raised in Akron. I can add her to the list of Akronites I’ve always known as LeBron, Devo, and the Black Keys. She played in a college band with a dude from Devo. Then moved the UK and tried to get both Sid Vicious and Johnny Rotten to marry her to give her citizenship. And she has a baby with the lead singer of the Kinks. Really enjoyed this overall, but also agree with the take that a lot of this washed over me. Could see this becoming a real favorite or becoming completely forgotten in my collection. Deserves a few more relistens for sure.

Have seen the name and given these guys a chance a few times, but never clicked. Still found this pretty challenging on the first listen, but liked it more after listening a bit more closely to J’s guitar work. Agree that it feels like the bones are there for an even better band if they would take the foot off the gas every now and then. Way better than Sonic Youth but not as good as The Replacements. Wouldn’t put this in my top tier, just based on listenability, but happy I dug a little deeper on them and would be interested to hear more. The spinoff band Sebadoh, is much more my speed. More melodic, better dynamics and song structure, though doesn’t have the same guitar power. Their Album Bakesale was on my regular rotation more than 10 years ago - had forgot about them until now - time for a revisit.

I was listening to this album and my baby monitor at the same time and thought Jarret’s grunting was my son waking up from his nap. This album hit on the rainiest day we’ve had in a while, kind of the perfect soundtrack for this weather. At its best, this album is beautiful and cinematic - Jarret is clearly a freak. The listening experience improved for me once I realized this isn’t really a full on jazz album - he’s playing mostly pop progressions, with a few jazz ideas mixed in. I love jazz/pop fusion stuff, so this worked for me. And the fact that it’s all improvised is so impressive. That said, I found the wall of piano a little tiring, and was clamoring for some drum and bass behind him. I also found myself wanting more dissonance and tension to balance out the beauty - bordered on easy listening customer service hold music at times. Get weird Keith. I did really enjoy this, and just so funny to pair this with Dinosaur Jr yesterday. Rating doesn’t matter, but somewhere between a 3 and 4.

Thought this would be way cornier, but man it’s good. Smooth vocals, rippin’ horns, and dialed production. Hits multiple genres without feeling disjointed. I had probably heard Shining Star but everything else was new to me. Highlights are Yearnin’, Africano, and All About Love. No misses in my book. Hook of Shining Star sounds like Virtual Insanity by Jamiroquai, and That’s the Way of the World sounds so much like It Ain’t Over Til it’s Over. Side note, I had no idea that was a Lenny Kravitz song from 1991 - would have pegged it as a much older Motown song. Saw that Miles said EWF was his favorite band - that’s high praise. Giving a bump for that and because this is our 100th album! Now I’m thinking about that photo of Lenny Kravitz’ hog popping out of his ripped leather pants.

More than half of the songs are classics, but stuff toward the end feels like unfinished filler tracks. Still in my top Jack White projects.

DS was only on my periphery growing up, loved the greatest hits album and knew Knopfler is one of the guitar greats, but not much beyond that. Didn’t know they are British, or that Mark was also the lead singer (thought he was just the guitarist for a while). Regretting now not going a little deeper on them earlier. I could listen to him play all day - it’s technical but not showy or noodly. Every line he plays is something you could sing back, and I love the way he plays with dynamics. Yes its an odd paced album, but I have something good to say about most songs on the album. And they stick the landing with the final title track. Most of my favorite DS songs are on other albums - Sultans, Tunnel, Romeo and Juliet. Their album Making Movies seems to have more praise from DS fans, so it’s interesting to not see that on the list. I listened to that one yesterday and think it has more playback value.

I’ve got a pretty big blind spot on anything related to Steve Winwood - have never intentionally listened to any of his solo stuff, Traffic, or Blind Faith. Sounds like an insanely talented dude. I poked around on a bit of his stuff with Clapton today - Blind Faith and a duo live recording - liked what I heard and might dig deeper on Winwood overall. As for this album, the first two songs were promising - especially love the hook on Arc. But everything after felt a little toothless, drowned in synth, and uninteresting drum tracks. Most of these songs could have been shorter without losing any musical substance. Yes, it’s impressive that Steve ripped every instrument on this album, but I also wonder if the songs would have had more life and direction if they were recorded by a band, and not just a lone wolf.

My parents never gave me a proper birds and the bees talk, but I saw the music videos for Sex & Candy (Marcy’s Playground) and Sexx Laws (Beck) every day after school between ‘97 and ‘99 and I didn’t get a girl pregnant until I was 36. I like Beck in medium-sized doses, and took alot of doses over the years, but I don’t think he’s a full-album-through-headphones guy for me right now. I would say hell yeah to a greatest hits, or a few songs on a shuffled playlist, or even this album in the background at a coffee shop - after a few songs, I lean over to my wife and mutter that they’re playing the full album of Guero by Beck, she stares into her latte wondering if she should pop quiz me on her phone number again. Love E Pro and Go It Alone from this one.

I think I overshot my rating on 1984 by a bit, but still think I prefer the songs on that album to this one. Remake of the Kinks is offensive. And if I need my fix of Devil themed music you know I’m going Maiden.

Going from Van Halen to this was like I exited the freeway and my foot wanted to keep driving 80 through the suburbs. I tried to crack into this over the weekend and was viscerally bored. I finally found the space to get out for an evening walk (with the stroller and a beer of course) and this all made a little more sense. I won’t go as far as to say I “get” this, that would be annoying, but I appreciate it and I want to listen to this album and learn about it more.

Probably somewhere in my top 25 or so bands, especially from this time period and genre, though until last year for some reason hadn’t gone all the way through Murmur. Definitely a little more raw and less melodic than the rest of their catalogue - but an amazing debut. Stipe is an all time front man, love him as a singer and lyricist. Buck is a totally underrated and unconventional guitarist, and agree I love the mix on the bass on this album especially.

The soundtrack to every Midwest roadtrip with my dad in his 2001 Toyota Sienna. New to me Ramble Tamble (good) and Ooby Tooby (not good) - the rest is a straight up greatest hits.

I know Mariah has talent but riffing every note gets old really quickly and it feels like that talent is mostly wasted across her repertoire. She’s like the EVH of R&B vocals - just because you can doesn’t mean you should. I had to take a break after each song to listen to something else more palatable. Throw in a star for Bone Thugs and Sisqo.

I didn’t grow up on this album, and I kind of associate OutKast most closely with the cheesefest of Hey Ya. I don’t have very established tastes when it comes to rap. I like flow that sounds super rhythmic, fun hooks, real instruments or sampling that sounds like music, and I think duos in rap are pretty fun too, especially when they compliment each other with this kind of a tenor and bass timbre. Checking a lot of boxes here. Songs I hadn’t really heard before that were fun: Gasoline, Humble Mumble, Hoes. Could totally see a higher rating, but it was like 20 minutes too long. I also wouldn’t push back that hard on a lower rating from someone who actually knows what they like in hip hop. A real tsunami of lyrics this week with Leonard Cohen and now OutKast.

Really impressive and a fun listen. Great grooves, though perhaps a little tired by the end of them, like other Fela. Ginger is a fun addition - he played in Blind Faith with Winwood. I’d love to see a poll of drummers on whether they enjoy listening to drum solos - beyond a few bars of fill (would probably say the same about any single instrument solo). After a while it all kind of sounds like those guys who play drums on plastic buckets for wide eyed tourists.

Some great tracks on here and perfect background music but also a lot that I wouldn’t be able to pick out of a lineup. Accidentally listened to this on loop in my headphones while sleeping last night and didn’t wake up once. Feel guilty giving this less than Elvis (kind of the reverse transaction of this album) but that one feels like it explores more territory. Random plug for new Elvis doc on Netflix.

In high school there was a group of upper classmen who were all super into Incubus. I worked the grocery store with one of them and he told me he was saving up to buy a turntable set to learn to scratch - he played no other instruments - that shit had such a grip on us in the early 2000s. Thought there were moments of this album that were ambitious and cool - Pigs, Alaska, Belladonna, Hanging - pretty and cinematic and they pulled off the blending of genres jazz, electronica, trip hop, all very 90s but fun. Then there were moments when I was brought back to reality - most notably Rough and Quick - where I kind of lost trust that these guys had a super clear vision for what they were trying to do as a band. I poked around on a few other tracks not on this album. They do some cool stuff that leans more jazz with more forward horns. Overall, the drummer seems excellent, but I’ll defer to the “corner”. Also was inspired to revisit some Incubus tracks, and think their hits actually hold up pretty well - makes me want to get some turntables.

Kind of wrote this off on first listen as a corny, generic sound like the Monkees. But on second listen, there’s more complexity to the tunes, some interesting chord progressions and overall spooky 60s vibes. Really playing with the stereo panning and reverb. I love it and this is definitely getting some replay. Highlights, hard to choose: Shooter, California, Groovy, In Crowd. So cohesive as an album. Barely on my radar as a group, but now know they were huge in that Laurel Canyon scene. Really interesting to read and learn about. One thing worth sharing: When Elliot Cass died of a heart attack with no drugs in her system, her manager told the press that she died by choking on a ham sandwich so no one would wrongfully say she died from an overdose. I watched a doc on Laurel Canyon today as well - a must watch for anyone into CSNY, Joni, etc. - paternity leave is a beautiful thing.

Beautiful, lyrical, restrained, not a superfluous note on the entire album.

It seems futile to try to write anything new about one of the most talked about albums of all time. I remember trying to listen to this probably 15 years ago and not really getting the big deal. I thought it still sounded a lot like The Beach Boys for one, probably because Wilson has such a distinct voice, and it still has some of the trappings of their surf stuff, if you ignore the pure melancholy lyrics. And I also thought it sounded like a not as developed version of the indie pop stuff that was coming out at the time, lots of similarities to some Fleet Foxes. At that time it was hard to hear the step change Wilson made in production, lyrical depth, and cohesiveness as a complete album. This is kind of the perfect album for this project - one I know I should make more time for but just hadn’t. Happy it came on a Friday and I had time to listen to it a few times, while reading a bit about the context. One thing that stood out, as Wilson was spiraling in mental decline, he had a giant sandbox installed in his living room, and put his grand piano in the middle of it. I also read some commentary that Wilson was heavily influenced by Rubber Soul, and Sgt Peppers was in turn influenced by Pet Sounds. There’s also a rumor that Wilson broke down when he heard Revolver because he thought the Beatles had made the perfect album he was looking for.

Some random notes: The top four Steely Dan songs from Spotify are on this album, haven’t seen that density from many bands on this. Absolutely insane this was their debut. Aja is still a better, more interesting and more cohesive album. New to me favorites: Kings, Midnight Cruiser, Heartbeat. Somehow Reelin’ might be the song I’ve heard the most, but least favorite on this listen. Overall, the non-hits on this album are better than the hits. Change of the Guard is the loosest I’ve heard SD sound - kind of rocks. The guy who rips that guitar solo is Skunk Baxter, session player and eventual Doobie Brothers guitarist. In the rabbit hole: Skunk later became interested in and self-taught himself missile defense systems from an aviation magazine subscription, eventually getting a second career with real jobs and a security clearance. Plug for new Yacht Rock dock-umentary on HBO. Fagen makes the best appearance of the film. Made me want to look at how many repeats we’ve gotten in the last 100+: LZ, Fela, Cohen, Van Halen, White Stripes, Stevie, Pink Floyd, Eagles, Marvin, Bowie, Bob…

Love stuff from this time period and genre, but in the end only the 3-4 uptempo songs are very memorable. If I need a fix of 60s Laurel Lady folk, you know I’m going Joni 100% of the time. (Blue came out the same year.) Notably one of the worst lyrics I can remember from the last few months: “Rain is wet, snow is cold. Chills my soul right to the marrow.” And she put that in the chorus. Wanted to like this one more. Probably hits harder if you grew up listening to this, I did not. Maybe my tastebuds have just been singed off from too much Steely Dan.

Some nice sounds and ideas on here, but probably a casualty of me not giving this enough room to breathe. Other than Cohen, I’m reminded of an old favorite album by Nathaniel Rateliff I would recommend - In Memory of Loss - before he spun up the Nightsweats and his more uptempo commercial hits. Some similar vibes to this, just slightly more melodic, less chanting.

Not totally annoying, some cool soundscapes throughout, but really not my thing. Probably a bit of a blind spot on my part in not appreciation the work it takes to put together a collage of samples like this. The first title track song was nice.

It seems very in vogue right now to hate on Antonoff productions, especially after we all spent the last few years getting bludgeoned by him and Taylor. Yes he has a pretty clear fingerprint on everything he does, and that can sound like a formula at times, but it works when the artist can find ways to leverage that mold rather than get trapped by it. Lorde and Lana Del Ray the former and Taylor sometimes the latter. I love pop rock with female vocals and a little dramatic flair, have a soft spot for Lorde and the rest of her contemporaries.

U2 is another one of those bands that is kind of cool to not like, right? I’ll admit I probably fall into that camp on most days, especially what they have become now. That said if I’m going to stand on my soapbox that Jack Antonoff doesn’t deserve all the flack, I probably need to extend that same openness to our Irish friends. I’m a little embarrassed to say I’ve never listened to Joshua Tree front to back. Absolutely classic three song start to this one. Loved Running to Stand Still and the stretch of a few songs after are all solid too. This got better with each listen. Played it once in the car and my wife said, “this must be your album of the day, we never listen to U2.” That’s right and you better not tell anyone I enjoyed it either.

Such a more evolved sound since License. They cover so much ground in genres, I love it. After License I was like how the hell did these guys get so much acclaim. I can get behind this album, and feel like their place in the canon is more justified. Three albums worth? Still not so sure. Might need to save Boutique for another day.

First of all, no way in hell am I listening to Beastie Boys in the holiday season, let’s just get that out of the way. I knew that the generator forced a Christmas album today, so did want to see what it was. KILLER songs Phil. Nice that this followed our dive into Pet Sounds, felt like I had a little more context on the spectre of Spector and his wall of sound. I like a little holiday spirit and cheese, even more so now in my old, old age. This hits, especially the Darlene Love tracks. See you next year Phil.

So damn good. This was even better than her last one. Dusty is up there for top new-ish discovery from this for me. I would listen to her sing just about anything, and helps that these songs are excellent. Just a Little Lovin, Preacher, Don’t Want to Hear It, Breakfast in Bed, Windmills - okay I like them all. The deluxe album runs a little long and definitely has some filler, but the original track list is perfectly chosen. Some fun notes: The Memphis Boys backed the Elvis record too. Need more Memphis albums. Reggie Young rises above standard studio guitarist. Carole King wrote a few of these. JPJ toured with Dusty before LZ was big, and Dusty vouched for them to Atlantic records. Discovering LZ is a pretty insane credit and probably deserves a rating bump.

Okay not terrible. Fun sampling, but still kind of annoying. And that’s the Beastie Boys, moving on!

Friends of ours did a full karaoke duet of Paradise at their wedding after party and I’ll always think of them when I hear that song. Grew up loving songs like Scenes from an Italian Restaurant, Rosalita, Thunder Road - long, unconventional song structures with a bit of narrative - a lot of moments on here that remind me of that. Or big through composed prog stuff. Obviously very theatrical - quite literally so. And the connections to Bruce through style, but also through Max and Stevie. Not sure yet how often I’ll come back to this one, but having a hard time saying anything bad about this - would like to hear more of it.

Didn’t really realize this was Alice Cooper’s sound. Way more listenable than I had thought. Always thought he was heavier and more self serious, though that was my reaction to Iron Maiden as well. Sounds like Boston or Jethro Tull at times - or sounds of Zappa who originally discovered them. Stronger A side - are three or four really great songs on here - offbeat lyrical content aside - and the rest are solid. Glen Buxton rips. Cool to kind of stay in the Meat Loaf universe too - read they were good friends and definitely share a similar theatric approach to the art. Another intersection: Todd Rundgren produced Bat Out of Hell. Rundgren had a band called the Nazz, also the original name of Alice Cooper, which they changed to not conflict.

I thought amongst a bunch of music dudes there would be at least one rabid Prince fan. I am not one either, though have always kind of wanted to be. There are 5 or 6 really good songs on here, and I have no doubt Prince would have been an incredible live show. In the end though I have trouble connecting with this completely - musically and lyrically. I really want to hear more of his great guitar playing - feels like it’s so sparse or faded in the mix. Maybe it’s the recovering Catholic in me that would rather listen to Alice Cooper sing about necromancy than hear Prince moan sexual aviation puns. There’s something nice about being in your mid thirties, feeding your baby a bottle, listening to this freaky horned up dude sing about nonstop partying and fucking. Very happy for you Prince, but honestly sounds exhausting.

The absolute pinnacle of coffee shop jazz pop, in the best way. First half of the album is much stronger. Such a beautiful voice and cool compositions. And a Shankar! Was close to giving this a three but it’s just too nice of an album. Venti iced latte with extra foam please. Plug for another more contemporary album in this mellow acoustic wheelhouse: Joan Shelly - Like the River Loves the Sea.

Enjoyed the title track, but felt like the jams in the other songs didn’t really go anywhere - super groove-based like Fela at times. Happy to hear the album, but not something that stands out amongst what we’ve heard so far.

Influential for a favorite album of mine - Slowdive self titled. Some cool moments on this album, and but in the end the origins of the this genre aren’t interesting enough to me, and some of the production and instrumentation choices I found kind of distracting from what I think are pretty good bones of songs from a creative band.

First song was okay, kind of reminded me of Okkervil River but really nothing memorable on the rest of the album.

I probably won’t be the only one to point out how eerie it is to randomly see this album art today of a California coastline pool on fire. I loved this album when it first came out, in like 5th grade, and while a lot of it probably went over my head at the time, Frusciante was one of the guitarists who made me want to start learning guitar. Listening to this again now, I see why his style appealed to me even at an early age, it’s impressive but so simple and melodic, so many of the most memorable guitar riffs and solos of the 90s/2000s are on this album. I eventually became less interested in pure alt rock, and got more into jamband, jazz, and indie rock, and honestly kind of wrote off the Chili Peppers as something I was no longer into. I still think some of their more recent stuff is probably not quite for me, but holy shit the first 8 or more tracks from this album are an absolute onslaught of great great songs. Otherside was and still is my favorite. Back half of this album is less etched in my memory, but enjoyed Porcelain and Savior. Will definitely be adding this back to the rotation, what a fun revisit.

I’ve never seen Superfly, but fun to hear the story throughout the soundtrack. I might like this a bit more than the Marvin we’ve gotten. Loved Pusherman, Superfly, and Think. Might enjoy this more once I’ve seen the movie.

When I was like 10 years old I was the victim of the one of those Columbia penny CD club schemes, where I mailed in for a dozen CDs I wanted for a penny, but was required to purchase 12 more at full sticker price throughout the year. I’m not sure I even had to put down my parents credit card. Twelve months later I had purchased zero of the required CDs and we got a warning letter that we needed to buy all twelve before the end of the year, so I got to go on another - much more expensive and parentally supervised - shopping spree. I recall The Verve (and probably The Verve PIPE) album being in one of those stacks, obviously based on the ubiquity of BSS. I don’t remember any of the rest of this album, and I imagine my ten year old self was as bored and unimpressed as I am today. A penny is still too much to pay for this album - I was annoyed and ready for it to be over by the second song, and cannot believe they thought they needed over an hour of AI generated Oasis.

The perfect companion album to another great debut new wave proto punk album from this process - Go Gos Beauty and the Beat. Both albums offer a lot beyond the hits. The front half of this album is a greatest hits, and the back half delivers on depth. I love Ocasek’s voice, the vocal melodies, the guitar high in the mix with the synth adornments. It’s kind of a kitchen sink of styles that somehow works perfectly. I’ve heard Bye Bye Love but not listened closely - such a tight and punchy climax to the album - a new favorite.

A mellow masterpiece that gets better with each listen. I love this version of R.E.M. as much as their 80s college rock roots. It’s evolved and more accessible but still goes to places musically and lyrically that other contemporaries did not. I’ve always loved the little laugh from Stipe in Sidewinder. He said they added Sidewinder to relieve listeners of the slow and heavy tone of the rest of the album, but he thinks it’s too light and sounds out of place. Going from Sidewinder to Everybody Hurts is a pretty comical transition. Interesting note that JPJ did the string arrangements on a few of these tracks. Monty is probably the weakest track, but this is a nearly perfect album. Last three tracks, River especially, is such a great way to end this thing.

Listened to a few songs a while back but finally got to the full thing. Only album in my backlog that I have been looking forward to. This was pretty damn fun and silly - reminds me a little of Talking Heads or that band They Might Be Giants. Stand outs for me were Love Plus One, Lemon, and Fantastic Day, but this whole record is pretty consistent.

I started working my way through the Beatles catalogue again separate from the project, a couple of weeks ago. This album is in my bottom of Beatles albums - I prefer Revolver and beyond - but it’s still one from the boys. After listening to almost 150 complete albums over the last few months, slogging through albums by the Beau Brummels, the Verve, Robbie Williams, it’s clear I had totally taken them for granted. They were just always there growing up, kind of synonymous with music, at it’s most atomic level. All of my tastes could be traced in some way back to the Beatles, but it’s always been hard for me to zoom out and see objectively what they did in terms of creating a ton of great albums and developing so much musically in the span of a few years. This album is a bit corny annd cover-heavy and would mean almost nothing to me without the later albums, but it’s delightful as an origin story, and still belongs in my canon for that. Sheriff/Chad probably knows the most Beatles history of anyone I know - looking forward to his take on this

Recently in a neighborhood shop, I recognized Thom Yorke’s voice on a song I had never heard, and I Shazam’d it - The Mess We’re In. Good song. I dabbled in the rest of the album at the time and found it a little less interesting, felt the same on this listen through. You Said Something is good too. In the end, I think St. Vincent plays a similar game with catchier songs and better guitar work.

Had already listened to this a couple of times in the last week. Definitely the best album we’ve gotten so far and the easiest 5. Toss up between this, Abbey Road, and White Album for favorite Beatles. Love the loose concept album, the first hit of that opening track, and Day in the Life is in the running for my favorite Beatles song. What more is there to say here? Currently working my way through watching the Beatles Anthology documentary as well, just so fun to get lost in their journey. Just keep thinking about how much it would suck to be Pete Best.

I’m a pretty bad judge of this lane of grunge, but this felt unremarkable.

This had more to like Daydream Nation, way more listenable - 100%, Sugar Kane, Chapel Hill - giving a bump for exceeding expectations, and an album I could perhaps come back to in the right mood.

I wasn’t really raised on Zep but still knew most of this album. Excited to see how my overall album ranking of these albums shakes out, so far would still put PG at the top.

Have always enjoyed the Cure but have never heard any of the stuff from this album. I might not come back to single songs from this, but really enjoyed the soundscape. Darker 80s music, fun change up. The back half of the album felt stronger, or maybe just pop-ier, than the front.

I saw a review that said 700 essential albums and 300 random Brit pop albums, and couldn’t agree more. This had a little more to like that The Verve but not by much.

Sounds like these guys were really throwing stuff at the wall, with no consistent style. Hearing some early Beatles, some Pet Sounds, but none of it nearly as good. I laughed out loud at the intro speech for melody. Always love a sincere “hey listener”. Not sure we’ve had one since Ray Price. These guys almost made it out alive without a horrible car song, but eventually were like cantfuckingtakeitanymore we gotta tell the world about this SS 396. Kicks and a few others are nice.

Feel like I just smoked a thousand cigarettes.

Metallica definitely rocks but also kind of sucks (by my taste). The music is okay, though all kind of feels the same rhythmically. Hetfield’s singing grates on me big time, adding an extra grunting syllable to words, I don’t get it.

Very different from the later albums we’ve gotten so far, but still a great one. A little more accessible, less jazzy, but can’t knock them for that. Skunk still rips some unexpected lines on a lot of these. Major Dude is in the running for favorite Dan song, also loved Parker’s Band.

Didn’t enjoy this as much on first listen, but started to hear a lot of similarities to Wilco, a favorite that took me some time to come around on. Like Wilco, VU can cover the range of slow contemplative to driving rockers. Stand outs: What Goes On, Some Kind of Love, Pale Blue Eyes, and Beginning to See the Light. Murder Mystery was like some arty Philip Glass shit, but have at it Lou.

This was a lot more fun and cohesive than other stuff from this genre and era. Nice production, could hear the sample layers better than some of the other mush. Good for one listen through. Hearing “Connected” was an “oh THAT song” moment.

Ended up enjoying a lot of this - bit of Talking Heads, Killers, One Night in Bangkok vibes - campy and catchy stuff.

I enjoyed this about the same as 1999. Some really fun songs - Let’s Go Crazy and Baby I’m a Star are my favorites. Not really a bad song on this album, but just don’t click completely with Prince. I didn’t know Prince and Darling Nikki was the original instigator for the Parental Advisory warning. I had such an obsession and fascination with any album that had that little sticker. I remember really wanting the first Sugar Ray album (because Fly was all over the radio in third grade) but it had a song that repeated “Cash, I need some fucking cash”, so while I was able to borrow the album from my baby sitter at the time and hear this piece of art, I was not able to lobby my parents to let me own it myself.

Foundational but Elvis did it with more gusto before him. Did not know Not Fade Away was written by Buddy.

Surprised by how much of this was new to me. Love it.

This band is pretty damn cool for the right mood. I need to go back and relisten to HOLV - feel like that one could grow on me more. Fun to listen to this alongside Jesus and Mary Chain today - another Scottish band with some good noise. Psychocandy came out a year later, and oddly, they both have songs about "Cindy".

Yesterday I was getting my haircut and next to the chair was huge hand painting of Hendrix by a local artist. The painting got me wondering about Jimi in San Francisco. Learned that in 1967 he played a show for 400 people in the Panhandle park near Haight Ashbury, on the bed of a truck owned by Jefferson Airplane, not too far from where Ted and I live today. Not much to say here - insane that this was a debut album. It’s like a greatest hits. Have always loved Wind Cries Mary.

I remember being in the back of an Uber like ten years ago when I heard Sade for the first time. Was so surprised she wasn’t a bigger name growing up, though maybe just not in my world. This album is awesome. Beautiful instrumentals and such a smooth voice. Especially love Frankie and Sally.

Graceland is one of my favorite albums of all time but I’d never heard these tunes, produced by Paul as a follow up. I went back and listened to Diamonds and Homeless today as well, so good. Thinking of this as a B side to Graceland, and 11 bonus minutes of these guys is pretty high ROI.

Knew the name and actually saw him play at a festival a few months back, but had never really dug into any of his recorded stuff. I grew up listening to a lot of Ryan Adams, who I guess we’re not supposed to like anymore because he was a bad dude to Phoebe Bridgers and Mandy Moore. C’mon man. This album reminds me of early Ryan Adams & The Cardinals, Bruce, Mellencamp, more Americana than country. Great songwriting and vibe. Favorites were Guitar Town, Goodbye’s All We’ve Got Left, Good Ol’ Boy, Fearless Heart. This State Trooper cover is also pretty nice.

An odd album in that as I listened to it more, I found myself liking it less. My first impression was this is unlike anything I’ve ever heard and not really what I expected. I thought I was at least somewhat familiar with Genesis’ sound but think I may not be as versed in the Peter Gabriel period. I also knew this period of Genesis was a big influence on Phish and Trey in particular, and that he gave their induction speech at the Hall of Fame a few years ago. I came in interested. At first, I kind of liked how chaotic it was, and thought that meant there would be more to hear on subsequent listens. But I’ve listened to this at least four times now and I’m kind of annoyed by it for the same criticisms of others - overall it feels like a lot of ideas slapped together with no cohesion. The songs don’t really build to anything meaningful in the way other prog or jamband music does. And the melodies just aren’t that catchy. I’d still consider myself Genesis-curious, and I’m happy to have this as a reference point. I like Cinema Show and Firth of Fifth.

I go back and forth on whether I like Billy Joel or Elton's catalogue more. I think most days I'm an Elton guy. Don't tell the guys back in NY and Philly. I had listened to this album recently after listening to the Strong Songs on Goodbye Yellow Brick Road. Even if a little unedited at times, there's just so much to love here. Apart from the classics, Grey Seal is the highlight for me. Other surprises I hadn't heard as often: All the Girls Love Alice, Social Disease, Dirty Little Girl. Yes, Jamaica Jerk-Off kind of sucks, but still a top album overall for me.

Of all the albums we've heard so far, this is the one I've listened to the most, and one I know I will come back to often. This little comment box and these five stars can't capture the beauty - it's perfect.

Nice listen in the vein of Bill Callahan. A little dark and dull at times, but happy to have heard it.

First impressions are everything, right? And SY kind of blew it with those first few albums we got served, so I totally get why the gang would give this low stars, or maybe even just not listen to it altogether. I gave it a shot. I'm somewhere between "this really isn't that bad you guys" and "hey some of this is pretty good". They seem like they finally figured out how to make a song build, layering in new ideas and not just stagnant noise. There are actually some melodies, more musical overall. This album is so much closer to the vibe of their other college rock contemporaries - REM, Dinosaur Jr, Pixies, or even Replacements. I had previously saved Eric's Trip - it's a good song, give it whirl - but this time around enjoyed Teen Age Riot, Total Trash. The guitar parts throughout - especially Candle. Not enough return songs to make this anything more than average for me, and I really don't think I'm a Kim Gordon guy, but this exceeded expectations.

Very nice album, just not quite as strong as Bridge.

My buddies and I went through a massive Tracy Chapman kick in 2016 - slugging Bud Lights and blasting songs like Telling Stories, Bang Bang Bang, Crossroads - we said we were "Chappin' our balls off". Probably something very Boston-white-boys-with-a-Superfly-poster-in-the-living-room about that whole thing, but I promise it wasn't ironic - that Greatest Hits album is still one of my favorites. I had heard Joan Armatrading's name, but never dug in. This doesn't hit quite as hard as Tracy, but some really nice guitar work and songwriting - obviously "Join the Boys" really makes me want to load up the beer bong.

Not quite as accessible as Mitski but this took me to a similar place. Started out thinking I am really not a Bjork guy, but think Big Time Sensuality is where I was like, hey I could get into this. Such a crazy blend of styles. Still a little too unstructured to come back to often but liked the ride. Just walked by a bumper sticker that said “STOP HONKING. I’m trying to figure out what the Cocteau Twins are saying.” Thanks to this project for helping me understand that joke.

I hated just about every second of this.

This is one of my favorites of all time, one of those albums that I can hear the next song in my head before it starts. Reminds me of post-college days living in Chicago, working my first real job, discovering new music and venues around the city. There was probably a several month stretch where I was listening to this album every day, these days probably only once a year, but I love it every time.

I really like the first two tracks, but it's kind of a blur after that. Very pretty and ethereal, never unpleasant, but nothing grabbed me, and I kind of wondered whether I got excited and overrated Bryter Layter - I admit I get a little trigger happy with that 5 key sometimes (see Van Halen or Pere Ubu). But I went back and listened, and I stand by my 5 for Bryter Layter - it's a great complete album, and so much more layered and interesting than Pink Moon.

Cinnamon Girl, River and title track are great but find the rest of it to drag a bit. Makes me want to go listen to Deja Vu.

Don't hate it, don't love it. Alot of pretty good, not great songs, by my taste. Sunday Bloody Sunday and Surrender are the only two that stand out - I'll probably come back to these. Refugee is a really, really tough listen. I guess if I want an edgier (no pun intended) punk-ish sound, I'm not looking to U2 to give that to me. I went back to Joshua Tree again, and stand by my defense of them and that album. It's a little more cookie cutter, but it gives me what I'm looking for from Bono and the boys. I know Achtung Baby is supposed to be one of their fan favorites - looking forward to giving that a try someday.

I wish I was cool enough to say this is a record I've listened to a lot already. Like a lot of music I discovered in middle school and high school - I found Zappa through Phish - specifically their Peaches cover (same goes for "Roses are Free" - sorry Ween boys). At the time, I loved that combination of long guitar-driven compositions and improv over jazz changes. Back then, I listened to alot of Zappa's greatest hits, but never beyond that. Looks like that album is called "Strictly Commercial", but the only song from Hot Rats is Peaches, so this was pretty much all new to me this time through. This whole album is weird and incredible, front to back. It's hard to pick a subset of songs that stands out, but that sax solo that builds into the violin solo in Gumbo is excellent. So many "hell yeah" moments on one album. Still love Peaches as a composition, and Green Genes is a nice revisit of that approach, before the album seems to head in a slightly different direction in the second half - feels a little more heavily jazz influenced than the more prog rock front half. Wish it was a Friday album - definitely need some more relistens on this one. Was just listening to Little Feat's live album "Waiting For Columbus" this weekend, and had no idea that band was started by two dudes from the Mothers of Invention. George Lowell "claimed to have played uncredited guitar on Hot Rats." Me too George, me too.

I’m sure this album is somehow important in the bigger picture, but not really for me. Some fun sampling.

An album straight from my parents catalogue, and thought I would dig this more. Really beautiful finger picking and always love James vocals - Fire and Rain stands out as always. Maybe just not the right headspace for this one today, but felt pretty bored by the listen overall.

The hits are super fun - as is Rocket Queen - but the rest doesn't really do much for me. I find Axl's vocals a little annoying. Somewhere between 3 and 4 stars on this. Might need to go listen to some Maiden.

Cool album - very White Stripes or Strokes, just a great era of music. Maps and Y Control are obviously the heavy standouts, but Rich and Pin are nice as lead ups to the better back half. Somewhere between 3/4 overall - not quite as catchy as the rest of the garage rock revival groups.

I feel like my palate has been totally shot on Brit pop, so came into this with alot of anger toward the Verve. This ended up having so much more depth. Not quite tight enough to draw comparisons to Radiohead, but definitely Sounds of Alt-J, Django Django, or Thom Yorke solo stuff - dark blend of electronic and acoustic. The lyrics weren't great - Eclipse is kind of terrible or trying to be funny, such a weird ending? - and felt like some of the songs kind of flat-lined on a single idea, but the ideas were at least worth dwelling on for a bit. AI Sharp, Human Being, Gone, Broke - this whole thing really rewarded a repeat listen. I feel like every song had a section where I was like "this band kind of sucks", followed immediately a section where I needed to stop working and listen more closely. Kind of disorienting but pretty cool at the same time. Haven't really listened to Alt-J or Django Django in a long time - might dial them up today.

I'd be very happy to hear these songs again, and I might even give this more spins, but there aren't any songs on here I absolutely need to hear again. Wheels stands out - I really do like country guitar - the slides, double stops, that thin tele sound, especially on the low notes. Dark End of the Street is nice. #2 sounds like a Dan tune.

In 8th grade we had to read a biography and speak to the class dressed in character as that person. My mom took me to the local library and I checked out a big stack of books to potentially use for this project. But first, we had to pitch our idea in a 1:1 meeting to our teacher. I’m going to be Elvis Costello, I told Ms. Tebbe. Ms Tebbe: Oh, Elvis I love him. Me: No, no, Elvis Costello, the folk musician - maybe you know him from his brief cameo in Austin Powers: The Spy Who Shagged Me? -- Because that’s sure as hell all I knew about him at this point in life, and the only explanation for why I thought I wanted to be him in front of what would be a classroom of 30 rightfully confused thirteen year olds. I think Ms. Tebbe gently steered me toward Elvis Presley instead, or my Elvis Costello monologue was so embarrassing I’ve blocked it from my memory. Just a Boy Out of Time. Beyond Belief is a tease of a start to this album - such a good song, like a better version of The National. This isn’t a bad album overall, especially the middle - Man Out of Time, Every Home, Loved Ones - but we never get fully back to the promise of that opening track. I never did get fully into Elvis Costello, other than wholly embodying him as a metal-mouthed pubescent grade schooler. I'm very excited to dig into more of the albums. Spoiler: buckle up, I believe there are SIX EC albums on this list, and only twelve more from the Beastie Boys.

Obligatory slap-a-the-bass-mon. I didn’t come into this with any super strong feelings on Rush. Have always been prog rock curious, and like that Rush seems a little goofy too, and excellent musicians. This album has all of the Rush songs I know. Limelight is always my favorite, but liked Camera Eye as a new one to me. Vital Signs was the only dud. Was honestly surprised by how short these songs were for the gods of prog - packed a punch.

I’m not sure there is a ton on here that I need to come back to - maybe Child in Time or Bloodsucker - but this was pretty damn fun. Big time Spinal Tap vibes from the hilarious cover art, to the gratuitous drum solo. I kind of love it.

A brutal and challenging album on every level. Such a sad recording story, but Cave does an incredible job of bringing us into his experience of grief - in music and words. That said, an interesting art piece, but not something I really needed in my life right now.

Predict I may be going against the grain a bit on this one. Lamb Chop feels like we stayed in the same universe as Nick Cave's poetry-driven orchestral rock, but with a way better outlook on life. I love how hard to pin down this sound is - felt like I was on my toes the entire time. It's country, it's jazz, it's soul, it's lounge music. It's kind of folksy but sophisticated at times, serious but a little goofy too. It's the kind of range that puts Wilco in my top bands list (that's as far as I'll go with that comparison, this doesn't come close to Tweedy lyrically). Up with People and The Book I Haven't Read stand out. I was super curious to see how this project translates to the stage - tight, high energy 14 piece band - has a bit of that bar band vibe of Nathaniel Rateliff or The Hold Steady. Also Wagner is a pretty solid guitarist from what I watched of his Tiny Desk.

Not really my thing. Kind of straight forward, really annoying vocals. As other have said, I'm sure this would be a really fun live show back in the day, but on record it sounds not very good. I listened to the Bowie and Iggy mixes, which was interesting for sure, but didn't make me appreciate the music any more. I don't think I'll have any songs to bookmark from this album.

Listening to this on my drive into the office for our team's onsite made me feel like I was in the opening scene of Office Space. I can't help but think RATM would be super disappointed if they knew this album was the soundtrack to my morning commute to my corporate job. That said, I am PUMPED UP. This isn't really a nostalgia album or band for me. I grew liking Rage and having a ton of respect for Tom Morello, but was never super into them as a band, beyond knowing the hits. Favorites here were Killing in the Name and Take the Power Back. Some really cool and unexpected guitar solos across the whole thing. Only complaint is that the rap/rock thing feels like it runs its course after 30 minutes, but that's just a matter of taste.

Some decent songs at their core ruined (for me) by instrumentation and production choices. It’s hard for me to get past the lead and backing vocals - it all just sounds really dated - read they were trying to replicate a stadium sound. A fun time capsule at least. They spent so much on the three year production of this album that they needed to sell 5M records to break even - sold 25M.

Have been a casual fan of this band for a while, but have really only listened to their album Stiff, especially the song Had 2 Know which was on a playlist I went through almost every day for a few months. Definitely check it out - great (catchy) song, fun album, and an all-time album cover art. I hadn't listened to this album much - it's a bit more psych and less accessible than Stiff, but cemented my opinion that these guys are a fantastic modern band. So much range in style - I'm hearing Neil Young at times, Vampire Weekend, or Paul Simon at others. As I was listening through this time, I thought these guys absolutely have to be an Austin-based band - feel like they just nail that southern psych sound. Maybe I just remember that from my subconscious - but sure enough they are! How cool would it be to bump into them playing in a random Rainey Street bar back in the day? 4.5 for me - not a perfect album - the psych sometimes teeters on incoherence - but the more I get familiar with this album, I'm totally sold. I've listened through three of their albums in the last day - D is probably the best, but tight race with Corsicana Lemonade. The killer guitarist on these two albums eventually leaves to go start Leon Bridge's band, so while the later stuff is fun, it lacks those great licks from the earlier stuff.

I don't usually read other reviews before writing my own, but when I saw Frank gave this a 5, I had to look. I love that this is a nostalgia album for you - I really thought this would be more "pedophile music" - you renaissance man. I only knew Just Like Honey coming into this - great song. I guess these guys sound a little like other bands of their time - Replacements, the Smiths, the Cure - but just such a unique sound - I do love it. The Hardest Walk, Taste of Cindy, Never Understand, You Trip Me Up, Something's Wrong. This whole thing sounds like generic 90s tunes - like something you could play to open a multicam sitcom - but then the songs got thrown into a blender. You know where all of these songs are going, but you have to run through the mud to get there. I've listened to this album 3 or 4 times now, but definitely warrants some more spins - a grow-er not a show-er, if you will. I still have one more Cocteau Twins album in my queue, so I think I'm going to stay in Scotland a bit longer today.

Will reiterate again I know very little about rap but this has some awesome funky sampling and fun flow on top of it. Some really fun songs, even if I might not come back to many, happy to have heard this. Lots of skits, eh? I was trying to think of any rock bands that did skits and the only one I can think is the album In Search of Lost Time by the band Partner - they do phone calls with their mom, dad, record producer, photographer - pretty fun album!

Always knew the name, but don’t think I knew any songs at all. Nice sound, reminds me a lot of that band Interpol - haven’t thought about them in a while. Not a ton of standout tracks - maybe Disorder, New Dawn Fades, Shadowplay -but an album that deserves a complete listen. This has grown on me a ton after a few times through.

That's alot of 80s post punk recently - hard to complain! The front half of this album steals the show - Gigantic, River Euphrates, Where Is My Mind? 3.5 for me - will round up because Kim Deal > Kim Gordon.

This is one listen through for me - kind of fun and silly - not sure I'll come back. Decent songs: Murdergram, Mama, 6 Minutes. Makes me wanna lick my lips. Had no idea this is where Run the Jewels name came from (Cheesy Rat Blues) - I like some of their stuff, so 2.5 rounding up.

When I saw the Spotify profile picture of Spiritualized - I was like wait a second, that looks like the motherfucker from the Verve - Richard Ashcroft. Is this like a Verve side project? Kill me. Start reading the Wikipedia: nope that's Jason Pierce aka J. Spaceman (okay, dude). Well at least not a Verve side project, let's give it a go. Read some more: to form Spiritualized, Spaceman kicked his longtime friend out the band, and brought in his girlfriend Kate Radley to play the keys. Is there anything less rockstar than that? Hey guys, Evan is out and my girlfriend is in. Read some more: this album was recorded shortly after Kate and Spaceman broke up. BUT the same year that they broke up, Kate SECRETLY MARRIED - and is still married to - RICHARD ASHCROFT. How funny would it be if this generator was secretly made by Richard Ashcroft, and every album was somehow loosely connected to him? Ashcroft and Fela Kuti were actually college roommates.

Thought this would be kind of boring Big Band music, but pushes beyond that form with emotional vocals, really fun horn solos, variety in song structure, and surprisingly excellent production quality for something from the 50s. Had no idea this was the guy who originally did Jump Jive. Standouts for me were Gigolo, Night Train, and Be Mine. I'll Be Glad When You're Dead is also just such a funny song - wishing death on a guy who took more than his fair share of pasta at a dinner party? I need more songs about this exact situation, one is not enough. This is New Orleans style jazz right? I've always thought I like that vibe - big band, but kind of fast, loose and rowdy. In that style, Preservation Hall Jazz Band has a nice album with non-jazz artists - worth a spin - especially love "Nobody Knows You When You're Down and Out" with Jason Isbell. Our 200th album!

I love CSNY, but had never been totally sold on Neil solo. My objections: voice is harsh - sounds nice in the CSNY harmonies - guitar playing is so-so, songs are meandering and sometimes dull. Everybody Knows This is Nowhere didn't completely win me over for these reasons. This album is different. The edge in Neil's voice is what makes these songs work. The slow, pensive ballads are where Neil and this album shine - the melodies are actually interesting and memorable. Title track is my favorite, and interesting story behind Only Love Can Break Your Heart (Joni and Graham). Most importantly, he's figured out how to take that choppy guitar solo style and make it build and work for the songs. I love it. I know I use this as a point of reference a lot, but the solo on Southern Man reminds me alot of Tweedy's guitar work on some of Wilco's longer songs like At Least That's What She Said, Spiders, or Handshake Drugs. Tweedy is also not an stellar guitar player, but has a unique voice that works in the context. In fact, this whole album reminds me alot of A Ghost is Born, one of my favorites. Can confidently say I've found a new go-to album - one of those that makes this exercise worth it.

Another Krautrock album! A genre I knew nothing about before this exercise and now can honestly say I'm a fan. Future Days by Can is still one of my favorite new albums from the generator, and I think a better representation of the genre, which I now know so, so much about. Reading that Conny Plank - the producer of this album - also did some work with Can, but that's about the only intersection I can find between the two bands. This is a wild ride - I found it kind of interesting to think of this as one continuous piece with a few movements - such a calm and structured beginning with the first couple of tracks, then devolves into total insanity - sounds like the Stones on acid - like two different bands in the first and second half. In the end though, this was more interesting and good, but not great. The overall album has an arc, but the songs felt a little stagnant - not something I can see myself coming back to as much as I have Can.

I'm not really a reggae guy - more of a me problem. Also didn't give this as close of a listen as it might deserve. Someone else tell me if I'm missing something!

I can name alot of bands that I love who benefitted from what Liz has done - Bully, Partner, Big Thief, the whole Boygenius world. Love those bands, and here it's hard to not respect the originals. Songs that stand out: Never Said, Fuck and Run, Mesmerizing - especially that little guitar lead line that carries. In the end though, for this genre I want something catchy with a little edge - most of these songs just don't grab your ear in the same way the bands above do. Fast forward, Liz's biggest song "Why Can't I" feels like it swings the pendulum too far toward trying to make something catchy and radio-friendly, and loses the edge from this debut. Damned if you do, damned if you don't. To be clear, that song is pretty fun.

I don’t have a lot to say here other than this album is pretty perfect, no skips. Great storytelling, fun sampling, and dare I say the skits actually work. I’ve heard this album a bunch and there’s something new every time through. I saw Kendrick live at a festival back in 2015, and he played with a full live backing band. Really changed my perspective on rap, and especially live rap.

Man this was LONG, but they sure cover some ground stylistically. I think I prefer the first disc more overall - specifically The Way You Move and Rooster. On the second disc - that cover of My Favorite Things is pretty fun and the final track too. Hey Ya! and Roses on the second disc have just been played so so much - hard for me to appreciate those. Probably need a little more time with this one.

Nice as an origin story but this is not yet the King. I honestly felt anxious the whole time just wanting to go listen to From Elvis in Memphis - I would argue one of the most replayable album from our journey so far. Also, I think it’s been mentioned already, but Return of the King is an absolute must watch on Netflix.

Dolly is such a charmer. Rhythm section here is fun - bass nice and high in the mix. Traveling Man, Early Morning Breeze, Here I Am stand out. This isn't quite Dusty or Elvis in Memphis level of greatness, but it's close.

Don’t Want to Live Inside Myself is a decent song and sounds like CSNY Helpless. The rest of this is a tough listen. Had no idea The Bee Gees did anything before disco - interesting from a music history perspective, even if the music is kind of lame.

Unmemorable

Have been looking forward to getting some Kinks albums - a band I’ve always been meaning to go deeper on. This album is great enough, and the Kinks have a big enough catalogue, for me to wonder why they never got as big as the Beatles or the Stones. Turns out they were banned from the US from 65 to 69 because Davies punched a union dude backstage. Beatles take cake in songwriting but I like that these guys rock a little more. Reading they also put on a good live show, and we know the Beatles never really were that kind of band.

Chad and I first met living in the same building on Buena Vista Terrace - a Social Club of sorts during Covid, with 4 or 5 guys who would get together and play guitar on our patio overlooking the Bay. Pretty special times. This album was on in the background of our apartment - like when they say the name of the movie in the movie. Chan Chan is the song I knew the best, but on closer listen - I think Pueblo Nuevo and Orgullecida are my new favorites. It was on BVT that Chad was convinced by a grouchy neighbor to help him paint DIY demarcated parking spots on our street - earning him the role of our block's Sheriff. 3 stars overall, and an extra star out of respect for the badge.

The perfect mashup of music and weather - took this as the soundtrack for a nice sunny bike ride down the beach. Love that they were forced to give Cat/Yousef a writing credit on Fight Test. My mind kept going to Pink Floyd as a conceptual psychedelic album, and looks like FL has covered all of Dark Side. There isn’t really a bad song on here, and like Dark Side, you kind of have to listen to the whole thing to fully appreciate any one song. I’ve always wanted to see these guys live, have heard excellent things, but they honestly feel off my radar. Hadn’t thought much about this album since I had it on my first iPod Classic in high school, when space on players was limited and there was no Spotify - we had to work hard for that music collection, or at least think about it in advance. I don’t really have the itch to collect vinyl, but I miss that sense of curation and choice, would love to have my old iPod Classic.

This wasn’t completely unenjoyable but doesn’t have a clear identity. Opening track I thought we were in for something a little closer to REM. Some similarities musically, but the lyrics add nothing. There She Goes feels pretty out of place. For some reason had that song in my head at Tal Bachmann but he does She’s So High - another one on the Mount Rushmore of inoffensive 90s songs.

Count Basie Live at the Sands was one of my first and favorite jazz albums. Flight of the Foo Birds always blows me away, and found some new favorites this time through. This whole album just rips. The horn section is so tight. The rhythm section is blazing - Freddie Green was drilled into me as the king of subtle jazz comping - I think our band played Splanky at some point too. I honestly don't love Big Band music all that much, but everything is dialed to 10/10 on this album, it's hard to look away. Count's piano work seals it for me.

Liked this way more than I expected. Not a huge fan of Brian Johnson’s voice - coupled with the sing-along-shouty choruses, always sounded kind of gimmicky. But then I this listen through I realized The Japandroids follow pretty much this exact formula and I’ve always loved their stuff. In both of these bands, every guitar riff is so simple and in your face. That early Japandroids album is called “Celebration Rock” which I think is a nice name for the genre AC/DC forged here - songs that make you want to slam some beers and stay out at the late night bars shouting rock and roll songs. Tell the babysitter it’s going to be a late night.

On paper thought I would like this album - but I’m going Joni or Dusty all day for my fix. This was just a little too chaotic and rambling for my taste. Still some nice moments - maybe a 2.5.

Didn’t do much for me. I poked around on their other top songs. It’s actually a pretty nice listen - Belfast, Chime - but an hour of this is kind of brutal. Give us more BANDS.

Definitely one of the more interesting albums so far. I had known Mingus by name, but not sure I had ever really listened. I don't think I'm a huge fan of avante-garde jazz, but what I really appreciate about this album is that alot of it sounds like it was super composed/orchestrated - like a jazz symphony. The wiki says it was written as a ballet, which make sense. It's absolutely chaotic and disorienting, and pretty uncomfortable for most of it, but still has enough footing in reality to be listenable (even enjoyable). Especially love the unexpected instrumentation, like the flamenco guitar and the classical piano bit in Mode D. I don't know if and when I'll come back to this, but seems like an album and artist that would reward some relistens.

Have always loved this album - have listened to more of their later stuff and Fr John Misty solo stuff. It’s interesting to see the albums from this genre and era that are selected versus omitted, but think this album deserves to be on here. These guys stand out amongst the indie folk crew. No duds in the bunch - maybe a little low tempo at times but that’s my only complaint.

Some decent grooves like ManWomanBoogie but the lyrics are pretty bad, right?

This is pretty bland stuff. Can’t I’m going to have a “constant craving” for any of these songs.

Fuck, another Brit Pop. Wait, it’s THE Brit Pop album. Rock and Roll Star, SuperSonic, Cigs, Slide Away.

Blues is very hit or miss for me. It’s one of the first things everyone learns on guitar, it follows such simple patterns, and it’s kind of easy for anyone to make it sound halfway decent. It’s easy for me to underestimate the greats. I’ll admit I find BB a little boring. This is totally different. I’ve never gotten into the Mud. So much to love here: - Songs are upbeat and kind of raw and chaotic like NOLA jazz - Mix of harmonica and piano - Muddy’s voice is just perfect for this. I love that lower register. - I love jazz and blues on Teles (plug for Julian Lage there), gives it kind of a country feel and just cuts through so nicely - his phrasing is just great too. - Production impressive especially for this year. Had no idea a song Muddy was the origin of the Stones name. Makes sense! Have been playing this a lot this weekend and will definitely be back.

An all-time great (North) American band. I've only known Band greatest hits, not this full album. Apart from the classics, loved Jemina Surrender, Jawbone, and King Harvest. The ballads don't hit quite as hard as say a CSNY slow jam, but gotta give these guys a top rating as one of the best bands to ever do it. Also love the cockiness and simplicity of their name, like a New Yorker insisting that anyone in the world should know what they mean when they say "The City".

With some more time, I may find more to like in this album, but nothing grabbed me on the first or second listen.

Don't Look Back In Anger is up there for best songs of all time.

I seriously hate Car songs, and I’m In Love With My Car is the worst Car song I’ve ever heard. Freddie is the best, Brian May has such a recognizable tone and style. Boho Rhap - as the kids call it - will never, ever get old.

For some reason I keep thinking this is the kind of cohesive album Queen was trying to make with Night at the Opera. Songs about Croissants > Songs about Cars. Haven’t listened to that much Kanye overall, but this is better with each listen.

Sean, feel like you summoned this album with your plead for more boundary pushing. This was wild. I really only know Running Up that Hill, from its recent resurgence. From what I’ve read this is the double black diamond of Kate Bush albums. The most experimental and least accessible. Not a lot I’m going to come back to on its own. If I end up listening to more Kate Bush, I may find more appreciation for this in context. Get Out of My House and Suspended in Gaffa stand out.

Does any other artist have their entire discography on here? Nick has three albums, and we've heard all of them now. Pleasant enough stuff, but this one has way less to latch onto than Bryter Layter (the best of the three) or Pink Moon.

Just a few days ago, I sent Ted a fake news article that said, “John Frusciante, Flea ‘Fine’ With Anthony Kiedis Naming Harmonious, Beautifully Intricate Song ‘Clappa Dap Funk Suckin’ Mama’” Californication is my RHCP album. The others are fine. This one is longgg and feels kind of like a parody of Kiedis’ dumb vocals and lyrics throughout - exhibit A: Sir Psycho Sexy. Under the Bridge is one of the best of all time.

A bit insufferable at times, kind of great in others. Everyday is Like Sunday and Suedehead stand out.

Lots to like here: album title, juvenile song titles and lyrics, a mononym guitarist (Euroboy? it's not Slash or Buckethead, but it'll work), and the songs kind of rock, for a bit. But in the end, and hour of this stuff is way too much, and nothing really stands out as something I need to come back to. I'm gonna go GNR, ACDC, or Japandroids if I need this anthemic rock. But whenever I need to Rock Against Ass, I know where to go.

Saw on reddit that the generator gods forced the algorithm today to feed us Beach Boys - love it. RIP Brian. Our spin through Pet Sounds cast Beach Boys and Brian Wilson in a new light for me - felt like I never really got them until recently. But I assumed that post-Pet Sounds would be the only albums for me, and everything before was just the sound that Brian was resisting or reacting to with Pet Sounds. I was wrong, even at this point, these songs have more depth than the surf vibes first suggest. And now reading the wikipedia, I know this is considered the departure album, a ramp up to Pet Sounds. I loved this. A plug for Panda Bear - Sinister Grift. One of the better albums of this year, and definitely heavily influenced by Brian's sound.

Thinking that if you mention Flavor Flav to a random millennial, their cold association will be with Flavor of Love, and not with Public Enemy. The vibe and hits on here are somewhere between tolerable and fun - Bring the Noise, Louder than a Bomb - but an hour of this is definitely way too much. Other than Beach Boys, feel like we're in a bit of a slump.

And just like that, we're back! Loved every second of this. Feels like sonically so much in common with the swamp rock of CCR, and active around the same time, so am kind of surprised to learn they never crossed paths musically. Slot this in the same tier and vibe as Elvis and Dusty. Elvis and Aretha didn't cross, but she and Dusty did. These are fun: A chance meeting and a memorable compliment: Dusty Springfield recounted a moment where Aretha Franklin, upon exiting an elevator, touched her shoulder and said "Girl," which Springfield considered a great compliment. "Son of a Preacher Man" connection: This iconic song was initially written for Aretha Franklin, but she turned it down. It was then given to Dusty Springfield for her album "Dusty in Memphis". Later, Aretha Franklin recorded her own version after hearing Dusty's successful interpretation. Dusty Springfield herself reportedly preferred Franklin's version, even adopting some of her phrasing when singing the song live. Springfield was a strong advocate for Black American soul artists and Franklin even nicknamed her the "Queen of blue eyed Soul".

Cool to learn a bit about the form. I like the sort of directors cut vibe to the album, and wish we could get that for some of the shitty albums on this list. “Hey mates this is Robbie Williams, and this song is supposed to make you wish you didn’t have ears.” It’s interesting to think about how taste is a product of environment. If I grew up in India and heard non diatonic music like this all the time, would this still be a challenging listen, or would I have be like hell yeah, the classics! Three stars in terms of an interesting artifact, but two if I’m being honest about my need to return.

Listening to some backlog on the flight home for my 24 hour trip to Columbus Ohio. This has to be one of the horniest albums o this list. Every song is like some new description of mostly the same thing, over mostly the same beat. Friend of Mine was the first song that stood out for doing something a little different sample and beat wise.

Get excited every time I see a Kinks album pop up - seems like they’ve got some unexplored gems I need to dig into more. I’ve seen reviews talk about them on the same plane as the Beatles and Stones, and that comparison is starting to resonate a bit. This was a real treat. Yes Sir, Churchill, Nothing to Say stand out after a few listens but excited for this to be on more regular rotation.

Numbered band names are dumb. You have to be really good to overcome that.

I was always confused when I saw Faces as the artist for Ooh La La over the years. Knew it as a Rod Stewart song, and thought that version sounded like him. When we got this album, finally realized this is Rod’s original band - had no idea. But then read about Ooh La La from their other album, and that’s Ronnie Wood on vocals, sounds just like Rod. This album was pretty excellent - love Rod’s vocals and Ron’s guitar work. Funny album title too.

Soundtrack to a young dumb semester abroad in London. Still holds up. Not sure about their more recent stuff, but this debut is so good from end to end.

Side A (all of track 1) is just so much fun. There’s just something kind of endearing about rock opera like songs, especially when the story is kind of impossible to follow. B side isn’t quite are interesting to me, outside of “Lessons”. This album is definitely a must listen, but Moving Pictures has more I want to come back to. Funny to learn that Geddy Lee’s real name is Gary but his Polish mother pronounced it that way and he changed it.

Maybe one of the best opening tracks of any album ever, and one of my favorite LZ songs. I’ll say there were moments on this album where I thought it sounded like generic blues rock, and like they’re still finding their own sound, but that thought never last more than a verse. GTBT, Dazed and Confused, Your Time, and Communication are my favorites this time through. I know some songs but I’m not an old LZ fan, so this has been a fun ride. Thinking PG still stands above the pack for me but need to give them all a listen sometime soon.

Have never seen the movie - might help bring it to life. I really like the opening track but the rest of the album is just nice background music.

One of the most beautiful voices of our time, big regrets not catching her on that Vegas residency. Don’t love every song on this album, takes a dip in the middle, but the hits are aplenty - Water Under the Bridge my favorite this time through - and Sweetest Devotion is a new like for me.

Title track instantly transports me to The Sandlot. Anyone else? (Same goes for the song Tequila). Nice 4th of July soundtrack. I’m really into the sound of the Hammond/Tele combo, and really love the phrasing and arrangements throughout. I was a 5 on this until I realized most of this album is covers, outside of Green Onions. Think they could have put on some more originals.

So much of this is new to me - but feel like I’ve seen the album photo a bunch - guess I’m more familiar with csnY. Would still put the Young version of the band above this, but this album is still near perfect. I had never heard Marrakesh, Pre-Road Downs, or 49. Highlights for me this time through. Cass Elliot from Mamas and Papas is on Pre-Road Downs.

This is my 1 year anniversary of the 1001 Generator. Through the working weeks, weekends, vacations, welcoming a new child, parental leave - this music has been a beautiful constant over the last 365 days of life. Some nice totally new discoveries (Can, Talk Talk); some nostalgic revisits that take me back to a very specific moment in life (LCD, Chili Peppers, Pavement); lots of bands that I have known by name or just the hits, but have been wanting to go deeper on (Zeppelin, CSNY, Beach Boys, Steely Dan, Peter Gabriel); and then, the category that shines the most in this process: a bunch of bands that I've known by name but never expected to enjoy for an entire album (Iron Maiden, Go-Gos, Elvis, Dusty, Muddy). Yes, there is a ton of horrible and average junk in this list, but its been so fun to insert some randomness and ritual into the thing that brings me some of the most joy in life - discovering, listening to, learning about, and sharing new music.

I've tried to get into this so many times over the years, and it still feels like an album we're all being bullied into liking. I did enjoy it alot more this time around - Sunday Morning and Venus in Furs were my favorites. You can hear the building blocks and influence on bands like Wilco, but I guess I like the more polished, poppy version of this sound than the fully avant garde. Giving this an extra star for one I may try to come back to - again.

I listened to this once, mostly while driving, didn't get it, hated it. Then I admit I cheated and read Chad's review - the Nirvana influence/comparison opened this up for me alot on the second time through. Heaphones at my desk, completely different experience. The build up in Happy and Bleeding finally caught my ear, to the point where I was like, okay I need to start from the top of the album. Oh My Lover starts super sparse too, just vocals and distorted bass, and builds in layers from there. What a cool opening track. Other highlights: Dress (the driving beat, that little twangy guitar lick with the cello/violin - super cool), Victory, Plants and Rags. I still think PJ Harvey is quite overrepresented in this list, but I'm really coming around on this one, album is excellent. Interesting intersection: Cobain included Dry on his list of 20 favorite albums. Might need to go back to In Utero this weekend.

Absolutely insane how many of these songs went on to be huge huge hits. Reminds me of listening to Californication - like, oh shit this song too? And somehow even after hearing most of these songs a ton over the years, none of them feel stale or overplayed. I’ve had POWER on lots of running playlists over the years - that song can make a fat dad feel like Prefontaine. Couple of tracks toward the end that are a little more filler, but this album might find its way into my top 10-20 of all time when it all shakes out.

Really nice to crank up the volume a bit more and listen for all of the little layers and parts. Production on this is just so interesting. The bass lines are fun! I might go on the record as enjoying this more than Thriller.

Kept thinking the song Frankie Teardrop sounded familiar, especially that little shout interjection. Is it Highway Trooper that has that? Then read that Bruce cited this album and specifically this song as a huge influence on Nebraska. Makes a ton of sense - this is like the synth punk version of Nebraska. Honestly kind of liked parts of it. Super haunting and jarring, but interesting as a concept album.

I’m of a generation that knows Ozzy more for the Osbournes than for his music. I was never allowed to watch it in grade school but would sneak it in the basement or at a friends house after school. I knew Crazy Train and some other hits not by name, but this record is so different from what I expected from Sabbath. Kind of psychedelic and proggy at times. And Changes was just so surprising - did not expect them to have a ballad in them. Not going full 5 - this is rocks and will come back to it, but none of the songs are super memorable or iconic in the end.

In my mind I had grouped together Garbage and The Cardigans as similar bands in era and style. I could not be more wrong. Went back and listened to some of First Band on the Moon - and Cardigans are so clearly better musicians and songwriters, not much of a point in comparing the two bands. There were some decent moments on this: Supervixen has a bit of a Nirvana vibe. Stupid Girl reminds me so much of listening to the radio nonstop in the 90s.

Some of his strongest songs - Between the Bars, Say Yes, Angeles, Ballad of Big Nothing. Great acoustic guitar parts, songwriting, and melodies, everything song is catchy and pretty memorable, if a bit dour. Will need to compare this to Figure 8 at some point - very different production just from the few songs I went back to today.

I'd heard of this band over the years, I think cited by other bands as a big influence, but never listened. Really enjoyed this. A bit of Talking Heads vibe, maybe even a bit of Pavement too. Loving the bit jazz influence and lead guitar parts. See No Evil, Venus, Marquee Moon, and Prove It are my favorites.

Ted's review nailed it - amazing voice, and was really drawn to her story in the Bob movie. These songs are boring as hell though, and a little lifeless - thinking her energy doesn't translate over studio recording. I dabbled in Live at Woodstock and Live at Woodstock. Similar songs, but so much more engaging.

Fun album, very raw. Definitely prefer the more mature version of this band, but there was some fun stuff on here: Remote Control, Hate & War, Deny, Police & Thieves, Cheat. You know, I don't think I knew Rock the Casbah is The Clash - not on this album, but wild that this band went on to make that song.

Really cool vibe, pretty dark plot based on the wiki summary.

Pretty fun at times - enjoyed the front half of this album. Back half of the album was just a little too silly and not super listenable.

The last k.d. album was so underwhelming - my review was essentially "amazing voice, brutally boring". I was ready to write this off! I've grown to love this schmaltzy crooner country - like Elvis in Memphis (yeah I'm going to keep bringing up that album). This reminds me a bit of some early Ryan Adams & The Cardinals - loved that album Jacksonville City Nights. This is like when you're at that late night karaoke bar, slugging bud lights with your idiot friends, not listening to the person singing, and then halfway through a song, you realize damn this lady's got pipes, and everyone stops talking.

Mr Brightside seems to get more airplay every year, and I’m totally okay with it. All These Things That I’ve Done though is the best song on this album, and one of the best pop rock songs of all time. There are some other great tracks on here that hold up, especially the front half, but the back half kind of drags. Sam’s Town was a nice follow up album, still enjoy that one - have always wanted to see these guys live.

How is this guy not way more well known? Maybe he is? I could listen to him sing anything. Loved the first half of the album.

Have been listening to Billy for years, mostly through his Wilco collabs - Mermaid Avenue is always a favorite - California Stars a favorite track. Don't think I've heard much solo Billy. Same reaction as Chad - reminded me a ton of Frank Turner, who I love and have been listening to often on the occasional work trip to the UK - love walking around London listening to Frank. Gave this a few listens, and definitely opened up over time, but in the end, felt like a bit of filler. Enjoyed Marriage, Levi, Warmest Room, and Tracks of My Tears.

This is one of the first real albums I had heard once I started paying closer attention to music as a kid. An absolute time capsule of the 90s. That wah wah guitar tone throughout really dates it. Such a unique voice, surprised in a good way by how much commercial success this had - it pushes pop conventions, even by today’s standards. Saw a review that said Ballard kind of botched her vocals in production and to check out the acoustic tracks - on Spotify - worth a listen! Between a 4 and 5, rounding up for the nostalgia.

I listened to a bit of Sigur Ros back in the day - and a bit more of Jonsi solo stuff. The guy is clearly insanely talented as a musician and composer, and you can hear here why he would go on to have a bigger career in film score. This was cinematic and beautiful, for sure, and I would put this firmly in the category of nice albums to fall asleep to. Not a bad thing, but there isn't really anything that sounds like a hit on here. Fun fact I learned the other day: Hoppipolla, on a later album, they called "The Money Song" because they knew that would be more of a commercial hit. This album doesn't have any Money Songs. Feel like they are kind of coasting on the novelty of singing in Icelandic - like an average looking British guy getting swarmed by women because of his accent.

I had never been a huge fan of The Doors. I've had Roadhouse Blues on different biking/commute playlists for the last 10 years, and man I love that song, but never went beyond that. I thought the whole appeal was Jim, and didn't really understand his draw. Thought the rest was kind of a blues cover band, and as we've covered previously, I find the blues a little boring. This album changed my mind big time. First, Jim deserves all of the hype for his over-the-top charisma - how the hell does that translate so well on record. Incredible. Then, I had kind of overlooked the backing band - organ and keys rip, great guitar, and the drum/bass are so tight and high in the mix. All of these guys should have been more household names in their own rights. Yesterday, I listened to Changeling at full volume with the car windows down on the first sunny day in a while - and I was reborn. The first half of this album rips. Back half is much more psychedelic. I've been listening to alot of early Grateful Dead albums and shows - riding high after the GD60 shows in Golden Gate two weeks ago - and this reminded me a bit of some of early Dead - especially L'America and Hyacinth House. Jerry died before LA Woman, and maybe he would have changed his tune, but found this funny quote/interview: “I never liked The Doors,” Garcia told Blair Jackson in the book Conversations with the Dead. “I found them terribly offensive…when we played with them. It was back when Jim Morrison was just a pure Mick Jagger copy. That was his whole shot, that he was a Mick Jagger imitation. Not vocally, but his moves, his whole physical appearance was totally stolen from right around Mick Jagger’s 1965 tour of the states. He used to move around a lot, before he started to earn a reputation as a poet, which I thought was really undeserved. Rimbaud was great at eighteen, nineteen, and Verlaine – those guys were great. Fuckin’ Jim Morrison was not great, I’m sorry.”

The highs are high and the lows are low. Can't say I enjoyed anything but the hits - Man In the Mirror by far the highlight. I'm kind of ashamed to say I was a little bummed to see an MJ - itching to go back to the messy chaos of Jim and the Doors. I had to look up what Liberian Girl was about. Like, surely there's a reason he chose this very specific country none of us ever think about. He must know someone from Liberia. Nope - just a song about an "exotic woman" and he thought Liberia fit the bill. Ted - I'm a little bummed Dirty Diana wasn't your first dance.

The same grade school teacher who did a whole quarter on Elvis and made/let us watch an “Elvis is Alive” conspiracy doc - also had a license plate PJAM. So, I’ve known about PJAM for a long time, but for most of my childhood associated them with one of the biggest radio hits of all time: Last Kiss (OH WHERE OH WHERE COULD MY BABY BE?!?!) Never really got into PJ later in life, but was always buddies with guys who adored them, so have always been interested in diving in. Coming in really only knew Even Flow, Alive, and Jeremy. Black is obviously a hit, but new to me, love it. A little tapered off at the end of the album, but overall incredible combo of songs. High on the bucket list for live shows to catch.

Yawn. Who is this for?

Wild album title. Thinking how funny it would be for any modern band to try that - “The Genius of Sugar Ray”. Was it just way more acceptable to be a big showboater back then? I think most of this songs would be a lot better without the string arrangements. I want to hear the piano, horns, and Ray’s (genius) voice. I like the rare moments when the backing back and Ray let loose a little - “Deed I Do” is my favorite for this. I think Ray has a bit of genius in him, but I am not sure this album is the best example of it.

Riff city! I saw a review that said Sabbath is the Alibaba Express version of Led Zeppelin. Hard to argue with that. In a rabbit hole, learned that Bonham was best man in Tony Iommi’s wedding. This album popped up on a trivia league Ted and I play in a few days ago: The ominous line "What is this that stands before me?" opens the riff-heavy first track on a seminal debut album released on Friday the 13th in February 1970. The song, album, and band all share the same name. What is that name? Some more fun trivia, there are only few other well known bands that have an album, song, and band name all the same: Sabbath, Maiden, Motörhead, and Bad Company (only one to reach #1).

I came in pretty lukewarm on Clapton (sidenote: have you ever read his racist rant? Pretty wild stuff for a guy who owes so much of his style to black musicians). This had some awesome moments - Strange Brew, Sunshine, SWALBR, Take It Back. Really like Clapton's voice and guitar tone, so kind of eat up anything where those are coming together well - but man there's alot of psychedelic filler in here. Always fun to hear a little more Ginger too.

I grew with with tons of respect for Dylan, and Hurricane was one of my favorite songs back in the day. But Bob has always been an old man playing old man music, to me and anyone else in our generation, so I have to some embarassingly admit now that the Chalamet biopic really breathed some new life into how I saw him, his music, and the folk music movement. Obviously a bit of Hollywood magic, but the energy felt so real in scenes where Dylan was introducing new songs he had written to other studio musicians or playing songs for the first time in front of audiences. Here, on Blood on the Tracks, that energy translates - Dylan has to be one of the best recorded artists. He's larger than life, not because he's a Morrison drunk or a Jagger showboat - just for being a damn songwriting genius. It all comes through on this recording, you feel like you're there in the studio hearing Dylan play these songs for the first time. I will never get sick of Simple Twist of Fate - beautiful chord progression and song.

I liked the Black Keys back in the day and have forever known the fun fact that Akron produced LeBron, Devo, and these guys. I thought I had more positive feelings, but relistening to this today - I’m not so sure. Here I enjoyed Tighten Up and Howlin’ but the rest was a bit of unmemorable mush. BK is two guys (Dan on guitar, Patrick on drums) and I read recently that they both only played guitar when they formed and Dan was better, so Patrick took the drums, but is also famously bad at keeping time. Fine for a two piece, but apparently that has been tough as they needed to add more instruments to fill bigger venues. I think their album Attack & Release might be a little more interesting but now I’m afraid to listen.

A little one note but it’s a damn good note.

“Hell yes” - I muttered to myself when this popped up before I needed to make an hour long morning drive for work the day after Labor Day. Just what the doctor ordered. This is the album my wife and I have probably listened to the most straight through, a road trip staple with no skips. This album is so perfect it’s almost insulting to have it on a list with all of this other trash. Every song good enough to stand on its own, and every song perfectly placed in sequence. Dreams is a great song and it might be my least favorite on the album. I go wild for the kind of raucous, multi-voiced party sound of Second Hand News, I Don’t Wanna Know, and Gold Dust Woman. SHN might be one of my favorite songs of all time - I love the build the outro guitar solo. Now I want to go listen to Tusk, has fallen out of my rotation and should be on this list.

Between this and Blur, I think Damon and I have very different ideas of what makes good music.

Never heard of this guy. Have been listening to this one a bunch, trying to make up my mind. There are some lulls for sure, but then Hugh will just rip a flugelhorn solo, and set the thing on fire. I like the early part of the album more than the back half - Maseru maybe the highlight. Overall, like that it's not just heads and solos, has some fun structural changes, like that little swing section in Maseru. The little conversations between the keys and horns too are excellent. Fun fact from wiki: Earl Sweatshirt is his nephew.

I think Lady Sould takes the cake for me, has just a little more punch, but it's a tight race. Absolute classic.

Prior to the first album we heard (The Band) I had only done the greatest hits - have really been missing out. This is one of my favorite new discoveries so far. Such an impressive debut - no skips for me. Interesting to read that Dylan did the artwork - he had offered to sing but wanted them to stand alone musically. And they sure do!

I went through this when Sean recommended Feel Flows a while back. Excellent song. The album has other bright spots - Long Promised Road, Surf’s Up - but overall hangs together a little less than PS or Today.

“Breast-fed on the sound of drums” is one of the worst lyrics and Indian Sunset one of the worst songs we’ve heard. Its unforgivable. It’s a miracle the rest of the album rises so far above it. Alot of this was new to me, outside of Tiny Dancer and Levon, love both of these. Read that Bernie took Levon Helm’s name for the song, because both he and Elton love the band, but Levon wasn’t happy about it. Elton eventually had a son born on Christmas Day and gave him the middle name Levon. Razor Face, Madman, and Holiday Inn are my favorite new to me tracks.

I've only known Depeche Mode by name, and for having a rabid following from the 80s. Took a few listens, but ended up coming around on this big time. The grooves are fun, the spooky dramatic vibe is unique, and lots of catchy songs. World in My Eyes, Sweetest Perfection, Personal Jesus, Silence, and Policy of Truth. I'm behind on listening, so I've cheated and seen some of the group's reviews - I know I'm going against the grain on this one. I can see how his voice would be annoying, but I found this way more interesting than the rest of the Brit Pop nonsense we've gotten. Maybe not a true 5, but rounding up.

Goth Go-Gos. Sounds a little like Florence & The Machine or Yeah Yeah Yeahs. The first half of this album is awesome - but a little less memorable down the stretch. Will definitely come back.

I had always thought of Tears for Fears as a total cheese fest - and they kind of are - but it holds up so well. I honestly could not have matched the band name to the songs before this, despite knowing three of these really well. Has a bit of a prog rock vibe to it at times - kind of hilarious how long they milk Shout. 6 minutes! Mothers Talk stands out as a new one to me. I wanted to see how these guys translated live, and watched a bit of this more recent performance - pretty cool! https://www.youtube.com/watch?v=roE7-lECtOs The song at the end of the video "Sowing the Seeds of Love" has Beatles "Carry That Weight" vibes, not a sound I would have expected from these guys. Interested to hear more.

The backing tracks have a lot more to offer than (what felt to me like) lazy vocals and boring melodies.

Been listening to this on and off all weekend walking around NY, kind of the perfect soundtrack for the city. If I’ve gone front to back on Doolittle it’s been a long time. Debaser might be one of the coolest opening tracks we’ve gotten. The baseline, the drop into the riff, and then the pedal to the metal vocals. If you cut out the screaming though, it’s a super catchy pop song at heart, and that’s what I love about this album - unlike the other more arty stuff from this era (ahem Joy Division) Pixies are here to write fun songs. It’s the same approach Cobain supposedly espoused - yeah he wrote some rough angsty songs, but he said melody always mattered more than anything. No suprise this was one of his favorite albums. The album kind of alternates between true radio hits like Wave of Mutilation and the heavier stuff like Tame, and the blend is just perfect.

A note on Arcade Fire as a whole - 10 years ago, I would have considered them a top tier band. Combination of my own tastes evolving, their output really flatlining, and Win being accused of some not cool stuff - AF has fallen many rungs for me. Their most recent performance on SNL was one of the worst I've ever seen, even by SNL standards. All that said, even when I did listen to these guys, I found myself preferring Funeral and Neon Bible over Suburbs - just felt that Suburbs lacked some of that punch of their earlier albums. On relisten, I think this album is actually better than I remember it, and has at least 5-6 songs that I think are worth revisiting, and (as a very charitable listen) that lack of punch kind and the of works in capturing some of the sheen/emptiness of suburban life.

Right as I hit play on this album on my drive home from work, Born In the USA starts up at the stoplight, and a guy with a black cutoff shirt and a red bandana rides past me on a bike, looking like just like Boss. Had a good laugh to myself. I know Bruce is not universally loved in this group, but I will always be a fan. So many great memories seeing him and listening to him over the last 20 years with my dad and different groups of friends, including most recently with Chad. This isn't my top Bruce album in terms of favorite songs - the big songs like Born in the USA and Glory Days are two of my least favorite in the catalogue, and the ballads are good but not my top. That said, it's still a really great set of songs. No skips, but my favorites are I'm On Fire and I'm Going Down (Vampire Weekend cover of this song is on regular rotation too). Reading that many of these songs were recorded during the Nebraska sessions, and carry on some of the themes of that album. Also, had no idea Annie Liebowitz did the cover photo!

My god this album is so good, I mean specifically Steve Howe. Yes is a band I've somehow really only know by name, despite this being right in my wheelhouse. There are so many moments on here where you expect them to go in one direction and they do something totally different - Yours Is No Disgrace, for example feels like it has the bones of a Boston song, but Howe's layering takes it to a totally different place. The Clap, similarly, is kind of totally out of place, and I would maybe put this track later in the album if at all, but throwing this ripping live acoustic track in the two spot is a pretty fun way to challenge the listener's assumptions - like what the hell is this? Lots of stuff on here that remind me of the early through composed, classical/jazz influenced stuff from Phish like Divided Sky or Reba. Moments on Perpetual Change (fav track) where Howe's tone and seamless switching between rock and jazz lines, reminded me alot of Nels Cline (Wilco's current lead guitarist). All great comparisons in my book. This is definitely prog rock done right - great new discovery for me. Excited to hear more.

Band and album name ain’t lyin’. That’s a lot of BONGOS. I think this album would have been a little cooler if they didn’t make it so much about the bongos. There are some good tunes on here. Biggest knock I have is that they’re all covers, so it’s hard to tell what this album is adding other than da bongos.

Chappin' my balls off right now. I am a huge huge fan of Tracy's greatest hits, and her best and lesser known songs aren't well represented on this album: Telling Stories, Change, Bang Bang Bang, Crossroads, Smoke and Ashes. These songs are super spread out across her discography, so I don't think there is another better album to put on this list. I've never gone through this full album - it obviously doesn't pack the same punch as a greatest hits album, but that shouldn't be the bar. Revolution, Fast Car, Baby Can I Hold You - lots to love here. A little on the nose lyrically at times, but redeemed by a great voice and melodies. Probably a 4 or so overall, but rounding up since I think this is the only Chap on this list.

Some of my favorite REM songs, and my preferred version of the band. Back half doesn't pack quite as much of a punch as the opening few tracks. Had a great time listening to this on my bike.

Didn't realize the depth of these guys - think I only knew Get It On. This is pretty amazing, lots of notes of Bowie and the Beatles. I'm so receptive to any rock band that finds a way to bring in horns and/or piano in a way that feels additive - loving the layers on this album. Bolan's guitar tone feels timeless, like something you would hear on an album today. Lean Woman Blues really shows off his vocal range. Was thinking I would give this a 4, but on another spin, there just isn't much I would skip or change on this album. Excited to come back to this one more.

I really don’t care for this era of turn table nu metal, and expected to be totally repulsed by this. But somehow I’m not. Chester’s vocals are excellent, the guitars rock, the production value is pretty solid, the melodies are catchy, and it’s a pretty dynamic album. Not to mention this album has at least four songs that were played non stop when we were kids. The songs in between are pretty fun too. These guys somehow transcend the genre they put on the map. Gonna come clean and say there were moments on here that reminder me a little of Hamilton. I probably won’t come back to this ever again, but it was an enjoyable revisit, and if someone says they like Linkin Park, I may no longer have the instinct of laughing in their face. Korn still sucks.

Reminds me alot of an artist I used to like - Jens Lekman. Finding this just a little too snoozy, doesn't really go anywhere new. Needs more turn table scratching.

Really fun stuff. The whole album has just a great vibe. Llego Mijan was the first song that really cut through and made me realize this album is a little more dynamic than some of the other Latin stuff we've gotten. Hong Kong Mambo too. I know these are totally different things, but can't help but compare to Buena Vista Social Club - I remember that being a ton of vamping. This feels like it has a little more variety and structure, which I like. I can't really point to a subset of songs, but this album is definitely bookmarked for a Friday night kitchen happy hour in the future. Was pretty surprised to hear Tito actually went to Juilliard - had no idea.

Bit of a Bruce, Costello vibe with some Irish flair. There is some Costello crossover in producer and horn section. First thought was these guys sound like an earlier and happier version of the band Okkervil River - Stage Names is a fun album.

Obviously a power house, maybe just a little boosted by a tragic end. Love this overall, but only knock is the Ronson production kind of grates on me after a while - feels like it kind of over does the old timey sound. That BBC session album sounds a lot better to my ears and shows off her voice more.

Love the energy, but don't really love alot of the songs. My Generation was great.

Have never really cared for these guys - Sex is on Fire is kind of a bore. Use Somebody is decent. This time around though, found myself liking Manhattan, Notion, and I Want You enough to say this is a decent album. Went down a rabbit hole, and learned that their first album is a totally different sounds - almost like the Strokes - and that KOL actually doesn't love this big hit album either. Check out their album "Youth and Young Manhood" - worth a listen just for comparison.

It’s kind of crazy this has a 9 on Pitchfork. What is going on over there?

I can’t overstate the grip Eminem and this first album had over me and my 11 year old friends. The Slim Shady music video dropped on MTV a few weeks before the album came out, and I was counting down the days like it was fucking Christmas. I remember vividly this album drop week was also the same week that I learned all of the other boys had migrated to boxers and I was still wearing tighty whities. Thanks brain for using up your limited storage space on that memory. There was of course the anxious negotiation with our parents over whether we could buy a Parental Advisory album, a battle I had lost before and lost this time again. But when my parents went out of town for a weekend and left me with an old lady babysitter, I had her drive me to the mall so I could buy the album. I also told her I was allowed to watch R rated movies, probably so I could watch Scream. It’s pretty appalling to think about an 11 year old consuming any of these lyrics, but at the same time if you’re going to make a kid grow up in Iowa, he’s going to need find entertainment somewhere. If You Build It They Will Cum on Everybody.

I kept playing this record through, kind of zoning out, and then I would perk up at a great song, but then realize it's a Spotify of more Temptations or Temptations-adjacent songs. That's all to say, these guys seem cool as hell, but I think I gravitate to their more fun songs. I liked Funky Music, Papa, and Do Your Thing.

Looking forward to Frank's take on this. Can't recall if you're a fan of recent Bowie or not. It's kind of impossible to rate this album outside of the context of its release. I heard this album when it came out and didn't really get it - it's clicking more for me this time through. The re-listen value is still pretty low, but headphones in at a high volume, the layers and production are perfect. Every song and note is in its place - even if the end result is super dark - this feels like only album he could and should have released in this moment. I love that the final track "I Can't Give Everything Away" feels kind of celebratory, like after contemplating for 6 tracks, he's just totally letting go. Such a complete album. Coolest fact I found about this album is that the title track was likely inspired by an Elvis track by the same name - and that Bowie and Elvis share a birthday. Sidenote that Girl Loves Me sounds so much like a TV on the Radio song.

First of all - I don't think this has enough of an offbeat rhythm to count as ska - it's sort of just pop punk with horns. Still makes me want to play some Tony Hawk Pro Skater. These guys aren't geniuses by any means, but the songs are pretty damn fun. Bit of a bar band vibe, like Hold Steady, Titus Andronicus, Japandroids, or Bruce. These guys aren't anywhere at this level, but now is as good of time as ever to make a big plug for PUP, if I haven't already - one of the best pop punk acts I've ever heard - strong compositions, good lyrics, incredible live show (with Chad) and Morbid Stuff is a top album of all time for me. I think these could have been a better album with a little editorial - alot of the songs sound the same, and could have been tightened to a fun 30 minutes.

My only real knowledge of Eno before this project was as a crossword answer. Didn’t know he did anything other than ambient music, and embarrassingly had no idea he was such a key figure in Talking Heads. (Kings) Hats off to Brian for writing some music that was fun to listen to (and thank Sean for pointing out the anagram!). This is like a mix of Talking Heads and late Beatles. Gave it a few listens, most recently on a taxi ride from Newark through lower Manhattan - I think any album is going to sound better as the soundtrack to that drive and views. Front half is much more accessible but even the ambient stuff on the back half is great, loved Julie With. Side note that Here He Comes sounds like it could have a legal claim against the Phish song Seven Below - both great songs. And apparently Here He Comes was a bit of a radio hit at the time. A little more time will tell if this holds up, but another 5 from this whore - tis a pity.

Radiohead has been pretty stable in my top bands since high school - solidified by the luck of seeing them on the In Rainbows tour in 2008 (and then never getting the chance to see them again). I listen to alot less of them now, but will dip back in in spurts. Of the early albums, Amnesiac is probably the one I've listened to the least, but man is it great. I love how stripped down everything is - usually just a couple of instruments and vocals at the forefront. Unexpected chord progressions, lyrically dense, but still catchy. Pyramid Song is gorgeous, and Life in a Glasshouse is one of the best from their catalog. That trumpet. I do find it hard to argue with the general criticism that Radiohead is too self-serious and joyless as a band, part of the reason I don't find myself returning to listen as often now. But I'm still drawn to how they've been able to innovate while still sounding like an approachable rock band, especially in these earlier years.

Really liked every song, but probably didn’t love any of them - impressive release later in his career. Happy we had Everybody Knows This Is Nowhere first - really opened me up to Neil’s style of guitar slop. Really comes through here, on songs like Love and Only Love.

I think I prefer the songs and production of In Utero, but this still rocks.

I could honestly sit and talk about this album all day, and it's tempting to sit here and wait for the exact right words to honor what is my (if forced to choose) favorite album of all time, but I need to move on and listen to more of these albums I haven't heard a thousand times! Really the only thing I need to write in this review is that me, Ted, and the boys walked up the aisle at our wedding to a string quarter of Jesus, Etc. but I'll start back a bit: The first time I heard of Wilco, I was at a Ben Folds concert at Summerfest, like 15 years old, probably a couple of beers deep because this was Wisconsin and I had older cousins. I was wearing a Phish shirt from a recent tour (yeah, I wasn't allowed to buy Parental Advisory CDs at age 12 but by age 15 I was somehow allowed to go to Phish shows unsupervised). I got into an argument with the 30-something guy behind me that Phish was the best band - he acknowledged they are good but that Wilco is the best band. A real modern day Lincoln-Douglas. The seed had been planted! And I have to credit Wilco and YHF for rescuing me from a life of exclusively jambands - who knows how long my dreads would be by now. I've made my case for Wilco in pieces over previous reviews, but they are on my Mount Rushmore for a few reasons: 1) excellent songwriting - Tweedy is a prolific craftsman of lyrics, melody and harmony. I love the his style of lyrics that are kind of clear enough in emotion but opaque enough that any listener can kind of ascribe their own meaning. It's annoying when some artists try to emulate this, but he's a master. His book How to Write One Song is worth a listen. 2) evolving sound - if you listen to their first chapter of music (post Uncle Tupelo) it continues that alt-country/Americana thing, with lots of simple but awesome tracks. That kind of continues through Summerteeth. YFH is such a turning point in their sounds and recording style, and the last with Jay on guitar. Ghost is Born (great mention Sean) I think is the only album with Jeff play all the guitar, and gives it that Neil Young sound. And then Sky Blue Sky onward has Nels Cline on guitar who is just an animal jazz player, but adds such a different sound from the previous eras of the band. All that is to say, their sound has changed so much over the years, and I personally love every stage of it. 3) emotional range and not too serious - this album has "I am Trying to Break your Heart" and "Heavy Metal Drummer" and "I'm the Man Who Loves You" - this is what sets Wilco apart from a band like Radiohead. 4) Chicago nostalgia - spent so many years of my life in Chicago, and would see Wilco in their hometown shows most years with a mix of family and friends. I could see the Marina towers (from the cover of YHF) from my office. Good plug, Chad for the excellent documentary "I Am Trying to Break Your Heart." Someday my son will come through the 1001 generator and write a review similar Sean about his dad. Okay that's all!

I used to listen to the song “This Is the Day” a lot, completely different band - kind of like The Cure, very poppy, accessible, and fun. This album is bizarre and never quite found my footing. 2.5 rounding down.

As others have said, definitely don't need two prison albums on this list. This was really only a bit that worked in its time - the music was folksy and I imagine the crimes were romantic - like robbin' banks and racketeering. Imagine Benson Boone with his little Gen Z dangly earring front flipping off tables in the mess hall surrounded by a bunch of confused Latin Kings.

I guess I’ve only heard Janis’s folk stuff - this rocked way more than I expected.

Hated this, then hated it a little less. They really went for it. The instrumental moments are pretty fun. The vocals are tough. I like the differences in dynamics in Buried Alive. Main takeaway is that Metallica really needs more songs about jerking off in the middle of class.

Some of these lyrics are so bad they’re good. The music and sampling is legitimately fun - has a bit of a Kendrick vibe at times, lyrics aside of course. Arrangements and overall funkiness saved this, like it a lot more than the other cheesy 80s rap we’ve heard.

I’ve listen to Kind of Blue, but not a lot of other Miles. Kind of Blue is way “cool”er than this, so much more raw, and what I think of when I think of Miles’ vibe. This one felt a little too much of the same - kind of big bandy at times. Kind of Blue has solos that are super singable and just masterclass in phrasing. This feels like an onslaught of notes and overly technical. Still fun but there is better jazz and better Miles.

My dad's cousin is a small-time music producer in Milwaukee - has worked with Phil Collins, Live, Sean Lennon, AND Violent Femmes, amongst a few others. I got to go to his studio a couple of times growing up as an early teen, right around the time I was starting to learn guitar, and got to mess around in the same space that those guys once recorded. One of the most serendipitous random generations so far - happen to be in Milwaukee for less than 24 hours this weekend while I was listening to this.

La Grange and Jesus Left Chicago are just so damn good. The rest is nice but never reaches the level of those two.

Man that was fun as hell. Respect to Frank for giving this a 5, and honestly hard to argue. But have to go 4 just based on the likelihood I will return to more than a few of these. Oh Shit, That Type of, Ya Mama, and Otha Fish are all great. Wikipedia says their high school music teacher helped them navigate the industry early on - pretty damn cool teacher.

Peter is such a madman - been really fun to dig into his catalogue more. This has some big songs - I Don’t Remember, Wire, Games, Not One of Us - and the rest of the album really ties it all together, almost sounds like it could be a musical soundtrack at times, very theatrical. This took a few listens to open up, but I’m sold now big time.

I’m not a Stones mega fan, but was lucky enough to see them about 10 years ago with my dad. My favorite memory of that show: my dad and I were talking to a woman while getting beers, and another woman came up to us and started shouting “don’t talk to these guys they’re just trying to fuck you!” My dad rightfully thought she was joking, and started trying to banter with her too, which only made her more mad. She shouted her accusation even louder, which only made us laugh harder. Eventually she got so mad, she stormed off and dumped out her beer on the ground.

Think I prefer Too Aye Ray but man these guys are fun. That said I don’t think they deserve two albums on this list. Was going to go 3, but there are at least 6 jamz on here. Got give it up for Dexy, and also not forget his Midnight Runners. Would be hilarious if there were like five more Dexys albums on here.

Had never heard any of these before, but have given this album an unfair amount of listens over the last few days. At first, this was landing quite average, and was convinced it was just not anywhere near as good as Surfer Rosa or Doolittle, but now I would put it up there. Extra points for the pacing and song placement of this album, something these guys always do so well. I especially love how the first two tracks kind of build up to Velouria, and we kind of get these chunks of songs working so well together throughout the album - love the mix of long instrumentals like Ana and All Over the World and then lyrically dense moments like the end of The Happening. Another very Pixies thing is that guitar work on songs like "Is She Weird" where he's playing the exact melody of the vocals. Really fun. Will come back to this one.

When we got Brothers In Arms a while back, I went on a big Dire Straits bender for a week or two, listening to most of their albums. This one and Making Movings got the most rotations. They've quickly shot up into my top bands. I just go nuts for Knopfler's guitar work and effortless vocals. Every song hits on this one, but Six Blade Knife is a new one that I now look forward to.

“Yellow” was my first Napster download ever - Coldplay’s new stuff is kind of unlistenable, and they’re definitely a little toothless overall, but I have a soft spot for the first three albums. Scientist, Green Eyes, and Amsterdam are good tracks.

If enough people love a band, I try to give the benefit of the doubt and assume there is something there to enjoy. But my taste is really getting in the way of trying to appreciate this objectively. I guess that’s just a Midwest nice way of saying Metallica kind of sucks. Hetfields voice is one of my least favorites (Steven Tyler comes to mind as well) and I just can’t do the rhythm or lead guitar tone, it’s so serious and lame. Still found myself enjoying moments in a later listen: Battery is cool opener, Master of Puppets I’d never really heard, and Orion is a decent instrumental even if it sounds like Trans Siberian Orchestra and has a cop out fade out as an old band director used to call it (seriously, wtf?).

I think Sean nailed the review - incredible musician but feel like I just want him to land the plane a little more often, and yeah Dead Finks is really fun. Gave this a few more spins after Chad told me he was digging it. Definitely grew on me but still a challenging one. I’d be interested to hear a little more Eno!

Always knew the name, and knew some of the big hits, but none of these songs. I'm not sure I can think of someone who has so much control over their voice. Was delighted to learn she's on the piano too - and Julliard trained - just an insane amount of talent. Some beautiful and interesting piano harmonies, and song structure kept me on my toes. Lilac Wine and Either Way I Lose are some of my favorites. Very happy this was a weekend album - may have blown past it, which would have been a real shame! Was laying in bed after a Christmas party last night, and went down a rabbit hole watching live performances until way past my bed time. The dynamic control and the little scooping she does in the chorus are just stunning: https://www.youtube.com/watch?v=-sEP0-8VAow Looking at her greatest hits lists, this seems like an odd choice for the one Nina album to include, but I'm excited to hear more of her on my own time.

This album is giving me more pause than most. On the face of it, it's more bland brit pop and my knee jerk reaction was distaste and a low rating. But there is a little more here than usual - the melodies are catchier, the guitar and bass parts are decent, and there's variety in the songs. The sound isn't revolutionary but there are some great pop songs on here. Shoot You Down stands as the most modern sounding song - a little like White Denim or Alt J - and I think the back half of the album translates a little better to my American ears. I Am the Resurrection has some big time Beatles vibes and love that they jam it out a little. Apparently these guys were big in the UK, but never took off in the US - makes sense with their monarchy take down on Elizabeth My Dear. They influenced bands we know now though: Libertines, Beta Band, Oasis. Either a really solid 4 or a stretch 5, and hey tis the season of giving.

I like a lot of Taylor Swift music, would consider myself a casual fan, and that’s amplified by the fact that my wife loves her music and is her go-to when she has the aux - and I just like tunes, man, so have at it. That said, I live in reality and find the celebrity fanfare and the general sense amongst her fan base that all of her music is above criticism - and I think she’s been really testing that generosity in her recent releases. But, I also think a lot of people write her off only because od the fanfare and how mainstream she is. Evermore and Folklore are objectively great pop albums, and they feel like the last time - pre Eras-tour coronation - that Taylor was making music like she had to earn the praise. I was also a big National fan back in the day, so was fun to see some crossover in sit-ins and Dessner doing the production. The live recording of Folklore (Long Pond Sessions) is pretty charming. I was lucky enough to attend the Eras tour with my wife and two of her girl friends (a real ladies night) and we’ll never get to live through Beatle mania but looking around in the crowd throughout the show and seeing women, girls - and some men - shrieking and weeping left a mark. It’s just fun to see music bring that kind of joy to people.

Sean you nailed it - perfect review. Challenging but accesible. When we got that last Miles album, I was like this isn’t the Miles I know! This is it! Just an absolute dream team of players too. Yeah, that step down motif in so what pops up all over, and so does pieces of the first solo. I heard a lot of callbacks and little variations in All Blues, and I’m sure it’s elsewhere. Need to put this in more frequent rotation than it is today, so much here. During Covid, before kid, things were slow at work, we were living in Tahoe for a few months, I would ski in the mornings or at lunch and then spend an hour or so playing guitar most days. (I love my son but that’s a painful sentence to write.) It took me like a week but I learned/transcribed by ear that first Miles solo in So What. It’s just remarkable, so simple and singable, but the way these guys follow the changes while still building real lines is just frustratingly cool. Like Sean, a perfect night time album. I had to run out to the grocery store to go get bananas for my addict monkey child, and found myself singing along to that So What solo like the Driving Crooner. I GOTTA FIGURE OUT HOW TO MAKE MONEY ON THIS.

Obviously foundational but a little repetitive - sometimes literally, with the Mojo reprise. I liked “Hard Again” album alot more.

This has a few of my favorites - Electioneering, Homesick Alien - and then some of the more commercial-ish hits like Karma Police and Paranoid Android which are still great in my book. This time through enjoyed Lucky. This album is toward the bottom of the A tier of Radiohead albums for me. Amazing, but would put HTTT or In Rainbows at the top of the list most days.

Live compilation albums feel a little like cheating on this list, but I think this one deserves an exception. When I was very young and first learning guitar, I had some adolescent snobbery about acoustic guitarists and music being better than electric - my thinking was that acoustic guitars and harder to play and more electric guitarists hide behind effects. Back then, Frank probably would have shoved me into a locker (plastered with Led Zeppelin stickers). Thankfully my tastes evolved, but I still think there is something special about songs being stripped down, like they did here - really shows off Cobain’s chops as a song writer.

Incredible, and oddly not one I appreciated quite enough until this listen through.

Definitely rocks but kind of a blur. Their live shows must have been nuts.

These guys have been carrying the torch of straight up rock music arguably more than any other band (Pearl Jam a bit more grunge, Chili Peppers a bit more... whatever the hell that is). Jack White might be in the most direct competition for that role. I don't love everything they do - but every album has a few great songs. On this one, felt like at least a few songs on here were [Boring As Hell Verse + Pretty Fun Chorus]. Kind of wanted them to turn it up a bit more - Weenie Beenie delivers. Saw these guys play at Wrigley Field many years ago. Grohl has broken his leg and was playing from a wheel chair that was eventually shot into the air on some sort of hydraulic lift. That's pretty damn rock & roll.

Agree with the take that this is an intense listen. I was trying to read and have this on in the background and had to stop reading. This was cool as a musical artifact, and glad I heard it. More return value in the rock in’ second half, but loved the first half after a couple of closer listens.

This wasn't as bad as alot of metal I've heard. More interesting melodies and rhythms than most - like the Brazilian influence. There we moments that reminded me a little of At The Drive In - those were good. Then there were moments that reminded me of Korn, like the time Jonathan Davis showed up on the track - those were not good. Born Stubborn was pretty fun. This is way outside my wheelhouse, and probably not coming back, but kind of a fun ride while it lasted.

I bet this album would rule if you grew up hearing it a lot. To my new ears though it’s boring - nothing really surprising in chords, song structure, melody, production. Might prefer Sepultura to this. This week I saw a video of Third Eye Blind playing “Graduate” live back in the 90s, and I’ve been replaying that self-titled album a lot. That’s a 90s album that ticks those boxes. Incredible album, so many hits, and looking at the other contemporary albums in this list, a crazy omission.

I listened to this one for the first time back in July when Ozzy passed. It seems super reductive to call these guys metal after hearing what they’re capable of on this album. Sure it rocks, but I’m hearing more in common with Zappa than with Metallica. So much range, like a jazzier LZ. This one has to go somewhere near the top overall.

Amazing - could probably grow to top album over time, but feels a little less consistent than Ziggy. Loved Watch that Man and Aladdin Sane the most - but also really liked Cracked Actor, Time, Jean Genie. That piano solo in Aladdin Sane sounds alot like the solo on Bathtub Gin - has to be an influence in some way. Bowie as a lyricist stood out here - so dense, imaginative, descriptive, unique.

According to Wikipedia, the original release is only a merciful 6 songs and 26 minutes long. Like the last album we had from these guys, this one is noisey but not that good.

Pretty far outside my tastes, but kind of fun as a one time listen.

This kind of feels like one long song. Cars is so good. But Observer is the same song isn't it? Either way, fun album.

Armageddon was a sick movie, but I cannot support this.

I've randomly seen this band twice live at music festivals (Pitchfork in Chicago over 10 years ago, and last year in San Francisco at Hardly Strictly Bluegrass). Their live shows are excellent, super high energy and they sound great. Most of the songs though, on this album, aren't really great enough to listen to on their own. The later album, No Cities to Love, has a more modern sound (had the song Price Tag from that album bookmarked - good tune). Big fan of this style of lady-led bands, but would go for/plug St. Vincent, The Beths, Partner, and Ratboys (top album two years ago for me) as my favorites in that category.

I am pretty convinced Pete Doherty is a genius. I haven't thought about this band or album in a long time - but it was on regular rotation during a semester in London. I like the Arctic Monkeys, but think Pete's projects are just a little more interesting. The lyrics, melodies, guitar parts are all just a little better. Can't Stand Me Now stands out - my 15 month old song was pretty fired up for that one. It's such a good song.

Pretty familiar with this album but was fun to revisit. Definitely a little standard-y at times, but is that a bad thing? Blue Rondo is the highlight for me.

Alright I agree swordfishtrombones is a tough listen and maybe this just sounds comparatively better, but it’s not all bad. This one has more real songs and sounds a little less like a homeless guy hitting a shovel on his trashcan fire. Hang Down Your Head, Time, Blind Love, Walking Spanish, Downtown Train. All pretty good! Sounds like Bruce if he just chewed a bunch of glass, or I guess if he chewed more glass than he already has. I look pretty cool in this fedora, don’t I?

Every morning when I wake up, before I open my eyes or even move a muscle, I think about that picture of Lenny on stage with the crotch of his black leather pants split wide open, no undies, trouser hog flopped out for all to see. Google it, learn it, love it, make it your phone background. I did.

Should be called 1001 albums recorded before they died. But I do like this version of Cash a lot. +1 to Bad Bunny. Muy bien.

Would be cool to like Nick Cave more, because he sure has a lot of music. On the right day, this one might work. It's just too melancholy though - not doing it for me. I liked Into My Arm and Black Hair a bit.

Like the dark 80s vibes but wish there was more up tempo stuff on here like Corrosion with the backing vocals and the screaming. That was the peak.

Tommy has always been kind of mythic - heard alot about it but never listened to it in full. After my son Tommy was born, I was playing Tommy Can You Hear Me a little bit, until I looked up what this album is about, and then I stopped. I think there is a reason we only know Pinball Wizard - there just aren't many bangers on this album - which is a little infuriating. One of my favorite meme/tweets is: Pink Floyd: what if we’re misusing the time in our lives Led Zeppelin: what if love is the only way we can move forward The Who: what if a disabled kid was good at pinball

Biggest takeaway here is that Nick Cave music is pretty cool without Nick Cave. Love the concept and execution. Perfect balance of silly and serious/interesting. Bit of a Krautrock/CAN vibe at times. Sounds from the Big House and Golden Arm stand out. May never come back to this, but eff it, that was fun.

Limp dick James Taylor

Not sure if this is lame, but Ramble On was like the coolest thing I had ever heard in grade school. I just loved that contrast between verse and chorus. Still in my top LZ songs. What is and What Should Never Be plays around with that structure too - love the bass lines on the quiet parts of that song and Lemon Song too. I gotta go back through all the LZ albums, but I think this and PG do the most for me.

This is truly psychadelic - some moments that remind me of early Dead stuff, and I found myself liking some of the interwoven guitar parts. But ultimately Jug Man really fucks up this whole record. What is this shit? Like, it makes every song so much worse than it needs to be. Thru the Rhythm is a pretty good song, for example, but that little warble makes me want to take a jug to my head.

Come to My Aid was a cool opener but rest of this was so cheesy. Moneys Too Tight sounded like a Flight of the Concords joke song.

Really like their sound, especially the instruments, but don’t think this is an exceptional set of songs. Liked Seagull and In a Different Place.

I was actually pretty into this album back in the day, or was I? Babylon is still a pretty charming song, but the rest of the album doesn’t quite hold up. still very pleasant.

This sounds super modern and close to some of the other A-tier bands I've mentioned like Ratboys and The Beths - has to be an influence. But melodies are a little more challenging, less poppy, kind of reminded me of the dark lines of Mitski at times. In the end, loved the overall album and pacing, and especially loved Portia and Half Blast. "Like frat boys who sleep together, we party better" - funny line.

Think this could grow on me but not as much as Blue

Thought this was going to be much more of a cheese fest, but was surprised by the layers. And yeah, what a voice. Reminded me of Beach Boys at times.

I gotta be in the mood for Dylan - not always - but this is his best stuff.

Jaw dropped a little when this popped up this morning. Certainly a nostalgia album. I keep a chronological playlist of albums I was really into at some point in my life, and this is definitely on there. That said, I think it holds up. Privilege opener is excellent. Drive is an all-timer. I thought that was the coolest music video when it came out. Make Yourself (the song) makes me wonder whether Incubus might be a better or at least more interesting band than the Foo Fighters. I think it’s a worthwhile debate. I think I wrote parts of this in another review, but when I was a freshman in high school, the cool juniors were really into Incubus. So much so that one of them bought turntables to try to learn how to scratch, like Incubus. I was impressionable, so got a little into Incubus but never to the worship level of those guys. But I do credit them for broadening my music interests away from my mostly jamband tastes at the time. Got me into bands like At The Drive In, Mars Volta, Cursive, Trail of Dead, Explosions in the Sky. A funny phase, but I still go back to all of those bands on occasion.

Hard to get through - snoozy

New to me - love the one man band bedroom recording vibe. A little chaotic but really works. Gotta come back to this. Those bonus tracks are great too - Freedom Flight is a nice groove. This guy is clearly just unbelievably talented.

Never heard of him! Other than Coconut I guess. This was fun. The American Beatle? Seems like he should be more of a name. Reading that the Wilco album Schmilco might be a slight nod to this one.

Reminds me so much of Covid. We were all clamoring so much for shared experiences that didn’t involve a pandemic, we found ourselves watching Tiger King and talking a lot about Fiona Apple. At first relisten to this album, I was kind of like “what the hell was I thinking ever liking this album?” It’s pretty hard on the ears. Rough voice, challenging melodies and weird arrangements. I’m like this is some Tom Waits bullshit. A few more times through and I’m back to really liking this album. The melodies are just kind of nuts and mesmerizing. The vocal harmonies too. Hits that kind of jazz adjacent space that Amnesiac sits in. Haven’t looked at the other reviews, but feel like I could be alone here!

Wildfire and Bow were decent but the rest was not memorable.

Liked this more than some other brit pop. Sounded like Pavement, Sufjan, or even that band Cymbals Eat Guitars - at times. Leaves and Sand, Barney, If You Want it Take It, Lazarus all stood out. A solid 3.5

At first I thought this was going to be kind of a lame sample act, but have a scroll through this live show: https://youtu.be/vTnBMsrsBI8?si=266sBntxMy-MO4D9 It's the real deal, and it's pretty awesome. Really toes the line of "do we really need this combination of music" and "I'm so glad they tried this".

Surprised no one is mentioning the random Beatles sound. The first half of this album is like pure AC/DC, as Chad said, and Noddy actually turned down the lead singer role after Bon Scott died. But the second half goes totally Beatles, and that extended track Candidate is like a rip off in a good way. I thought this was going to be all hair metal based on what I knew about these guys, but they have some real range.

Tough listen!

Pretty fun! Like unabashedly silly, but also some good layered guitar parts. Won't be back to this often, but these guys are goofballs and I love it.

I honestly had no idea Sly was such a talented musician - always associated him with wedding dance floors, but this is so much more than the singles. Love the mix of upbeat motown-type songs and more experimental jazz songs that sound like they could be on Maggot Brain. Had to look up what was going on with Sex Machine - Sly is scatting into a distorted microphone? Really interesting. Sounds like they went on to do even more experimental, less commercial stuff later. Need to check that out!

I'm a 90s kid so Faith is firmly a Limp Bizkit song in my book. Knew of this album, but never went all the way through. Some really surprising moments - One More Try, Father Figure, Look at Your Hands, Kissing a Fool. A little cheesy - it's the 80s after all - but lots to love here.

I know these guys are very respected by rock fans, but always felt like it sounded a little generic. Still not super sure. But Hand Model is awesome, sounds like Geese, made me give the whole album a few more listens. Still think it sounds a little like AI rock, but little moments of humanity.

Love these guys, but not their most cohesive album.

I did not expect to like this quite so much. Really not too many duds. Monster songs like Cherub, Today, Disarm. Then some new ones to me like Hummer, Quiet, Silverfuck. A couple of highlights for me are the guitar solo on Quiet and the outro on Hummer - really pretty. I like this version of Pumpkins - much more college radio rock than their later melodramatic stuff. This just feels a little more emotionally balanced. Kept thinking about the guitar tones across the album - so much variety but not annoying, like perfectly placed. Though now I'm reading alot of that was done through studio layering, and never quite replicated live. Reading that My Bloody Valentine is a big inspiration for this album and Billy overall - going to need to go back to that album this week.

Break enough 90s rock conventions to stay interesting, but also kind of annoying.

Crooked Rain is a better album, this one is just not as fun or poppy. A few good tracks though.

The song Darkness on the Edge of Town is probably my favorite Bruce songs, probably the Bruce song I've listened to the most over the years. Love the slow simple rolling piano + drums start, and then the big down beat. Strong contender for best Bruce album for sure.

Fun relic of rock, and a really interesting voice, but not something I will put on again in full.

I read a while back that this is the U2 album for true U2 fans. It's pretty good! But honestly, I think I prefer their poppier stuff - it's hard to see U2 as anything but a big arena pop rock band. Also, is this lame to say? I've always been a little turned off by The Edge and his obsession with effects/tone. Feels like he's hiding something. I honestly prefer Billy's tone on Siamese Dream (just read that he played most of the guitars on that album and not James Iha). Anyway, still a fun listen, but not on my wall of greats.

Funky but never fully drew me in.

Such an annoying voice. So unmemorable.

Apparently Tim referred to this era of his music as “Sex Funk”. Who’s more insistent on their ability to funk, this guy or Parliament? Still laughing at the review, Frank. Spot on. Anyway, Doors did this whole thing better.

Feeling kind of disillusioned. Thought I liked the Heads more than I have liked the albums. I guess I just like the hits - or the Stop Making Sene live album/movie. Reluctant to make this point, but I think the Phish slow cover of Cities is better. The lyrics of the song are great, and the Heads version just feels too rushed.

Saw a review that said this is the Sgt. Pepper of Americana music. Never quite sure what Americana music is, but have always thought it's a genre I like - country rock for guys who live in the city and drive RAV4s? That's me. Anyway, this definitely has the bones of Uncle Tupelo, Wilco, etc. Interesting song writer - enjoyed everything, but also never felt like we got a hook.

I remember this album being kind of big while we were in college - didn't quite get it then, don't totally get it now. There are some okay sounds on here, but if I want this sound I'm probably going for more accessible pop version of this sound in Vampire Weekend or slightly more experimental MGMT (their new stuff is actually really good) or Beach Boys. Feels like we're listening to these guys try to find their sound and never totally find it. Also, maybe it's my headphones, but feel like I can't hear any of the individual instruments.

Kind of fun running music but also a little annoying.

I've talked about how awesome my middle school band teacher was. My high school band teacher was the exact opposite. Sweaty, angry (but not in a cool Whiplash kind of way), ill-fitting dress clothes, elastic back brace often worn outside of his shirt, where he would stuff his 20 ozer of Mt. Dew that he would take sips of between songs. This guy would take his own solos at our concerts, did a whole half-time show rendition at a basketball game of him and some other band kids banging on trash cans, and was reportedly spotted alone at the strip club 30 min outside of town that allowed 18+ entry, and attracted some more daring high school seniors than I. I only lasted one year under his tutelage - but in that year, we played Saturday in the Park and 25 or 6 to 4. It's really hard for me to separate Chicago from those memories of this terrible high school jazz band. This album actually rocks, thought it sounded like Hendrix and times and see that Jimi had very high praise for Terry Kath. That spring of freshmen year I played in the pit for the school musical, also under his conduction, and realized the choir and theater directors had their shit together much more than this dude, and the kids on stage looked alot less miserable - so that's what I did for the other three years.

Loved this. First half of the album is much stronger - especially that burning first track - but right up my alley on the bluegrass/folk vibe.

I am not sure I appreciate Jeff Beck enough to love this album. There is some cool psych stuff on here - Lone Woman, Ever Since the World Began - but alot of this sounds like generic blues. Fun but not ground breaking.

Honestly been craving something a little offensive and controversial, list has been a little snoozy lately. This is unlike anything I’ve ever heard. Is it good? I am not totally sure, but they are absolutely going for it. Reminded me of TV on the Radio (they covered Hello Skinny I read), Primus (Claypool played with them), Pere Ubu energy too. Read that Trey and Fishman (Phish) went to an NYC show in the 90s and said it changed their lives. Another collective, Frank, let em have it.

Reminds me alot of Waxahatchee - one of my favorites. Somewhere between 4/5 on this, but a really nice addition to this list.

I agree with Chad here - it's like two different bands. Digging the rock stuff like All The Way and Run. Not so sold on the electronic stuff - just less memorable. I do like the idea of bringing together genres and showing the breadth of the band, but the songwriting is just a little dull at times. Reminded me a little of The The at times.

Sometimes you need to judge an album by it's cover. This is the ugliest relic of 90s rock I've ever seen, and the listen through wasn't much better. Hard to find anything redeeming here - maybe 7 Seas or some of the instrumental moments.

Really enjoyed this one. Bit of Bowie, and clearly so many downstream influences - Geese even at times with the rock/avant garde mix? Seems like these guys were kind of huge, but never heard of them. Thrill and Takes All Night are my favs. Also pretty silly album cover - Girls Against Boys could take note.

Feeling validated by your review, Sean. Thought The Who were one of the great bands, but so far have felt kind of underwhelmed by their albums. Funny to read that Townsend claims Sgt. Pepper's copied the drafts/concepts for this album. Okay, Pete!

Grew up knowing Rod as kind of a washed up soft rocker. Never really knew this side of him - was ready to not like this that much. Very pleasantly surprised. I Know I'm Losing You is awesome - so are Maggie May, Find a Reason to Believe, and title track. This one really opened up with a few listens on headphones too. Excited to come back to this - feels like one I can play in the kitchen that everyone will enjoy, which always helps with replays. Duck Stab I would put in the same category, obviously.

From the first track, I thought this like Steve Wynwood project and sure enough there he is in the credits! Need to go back and listen to Arc Diver again.

I love this album so much. He’s just such a monster guitar player, I love playing that effortlessly switches from rhythm to lead lines all while singing. And the tone is perfect. The whole band is so tight and fun. Less fun: I’ve been following Frampton a little more recently and learned a few years ago that he has a degenerative muscle disease and lost a lot of his ability to play over the last few years. Should I mention, as I too often do, that my intro to Pete was through the Phish live album Hampton Comes Alive (recorded at Hampton Coliseum)? Also a really great collection and clearly so much influence and overlap between Frampton/Trey/Phish in composition, style, and live energy.

Pairs quite well with the Frampton vibes. Maybe a bit of guilty pleasure, but I think these guys deserve a little more love than the other washed up casino acts (REO Speedwagon being my best example of this genre). I am surprised and also not surprised that the boys from Boston hate Boston.

There have always been a couple of things in the way of me an Clapton - one is guys who I played with growing up calling him over rated. That feels a bit exaggerated if you take a step back and think about how much he’s created across decades of music. The second thing in the way of me loving his music is the whole Keep Britain White thing. I’ve gone down the rabbit hole a few times and never seems to be a good answer or even a sincere apology. Even tougher when so much of his music is borrowing from black musicians. Now to the music - I still like Clapton’s music and lot of this album. The whole reggae and Shot the Sheriff thing has always been weird. But the rest of the album kind of rips. Steady Rollin Man, Can’t Hold Out, Give Me Strength. Motherless Children might win for happiest song with saddest lyrics. Brutal, can you imagine trying to rock out to that at a Clapton show?

Some pretty fun stuff in here especially the early tracks. Bit of Geese sound again here eh?

First psychedelic band and album, out of SF, sounds a ton like early Dead. Enjoyed Flying High and Death Sound. The rest is a little forgettable, but undoubtedly a building block for stuff I like today.

Some fun solos but it’s hard to make this much blues sound inventive.