The Norman Whitfield years are underway—epic songs, psychedelic soul. David Ruffin is gone, and Dennis Edwards takes over as lead, but the voices remain the standard—Kendricks, Williams, and Franklin take notable solo spots throughout. The cover of the Gladys Knight/Pips version of Grapevine is decent, as are the other b-side cuts, but the title track and Run Away Child, Running Wild set the tone for the Temps to come. Funk Brothers moving at full speed. A perfect encapsulation of the late 60s Motown era.

Perhaps if I had lived in the UK during the early/mid-90s and saw the rise of Trip Hop through predecessors like Massive Attack, I'd have rated this higher. Looking at it from 2024, though, it feels more like an artifact of its time and place. It feels like Evanenesence—and not in a good way. It's not a happy album, that's for sure. A few decent tracks (Sour Times, Glory Box) seem to rise above the rest of the sadness throughout the album. I also perked up a few times when I recognized samples during songs—Weather Report, for example, popping up at the start of one.

Marvin's masterpiece. I am in awe of its greatness each time I listen to it.

The music wasn't bad, but I couldn't get behind the rest. Eh, win some, lose some.

I didn't listen to this genre of music in high school for a reason, and I will never willingly listen to this album again.

Pleasantly surprised at how much I enjoyed this.

RIP John Mayall. Without this album, you don't have a bunch of albums that follow. Notable for that reason alone. That said, an album I probably wouldn't go back to for another 10-15 years. We're not talking about the guitar player.

Absolutely gone too soon, but the demons that would take him are ever present on this album.

Quirky, psychedelic. I probably won't revisit it, but it's not the worst from that era. At least it's pretty original.

This is a light on the darkness at the end of the '60s, the end of the hippie dream, and the Stones' embrace of Americana. This is where they make the turn that'll lead them to Muscle Shoals, Alabama. Oh, and Merry Friggin Clayton.

I never liked the song they're known for, so an album of similar 1990 NYC club music is meh. Not every cut was terrible. Smile On was decent, and What Is Love has some cool synths. But on the whole, nah. It's a one-hit wonder album. This spot could've gone to a much better act from an underrepresented part of the world on this list.

The Norman Whitfield years are underway—epic songs, psychedelic soul. David Ruffin is gone, and Dennis Edwards takes over as lead, but the voices remain the standard—Kendricks, Williams, and Franklin take notable solo spots throughout. The cover of the Gladys Knight/Pips version of Grapevine is decent, as are the other b-side cuts, but the title track and Run Away Child, Running Wild set the tone for the Temps to come. Funk Brothers moving at full speed. A perfect encapsulation of the late 60s Motown era.

I cannot tell you enough how happy I was to see this album pop up. Sparks is the perfect band that never entirely made it but was by far one of the best cult acts yesterday (and today!). This is where it first came together for the Mael brothers. Zoo time is she and you time. Russell spins Ron's words into bombastic vocals. The mid-70s version of the band is grade-A glam. Ron's RMI Electrapiano washed in reverb over top of it all. I discovered this album 20ish years ago in college, and though Number 1 in Heaven is my favorite, I have been a fan of this and them ever since.

Boot this album off the list right to hell.

KD's voice is outstanding, and I love that Loretta and others are on the album. It almost feels like you can hear these tracks on a David Lynch movie from that time. The dated too-clean 80s production, however, takes away from the overall presentation.

Pretty enjoyable Elvis album, all in all.

Given the change in tone midway through, it easily could've been two separate albums. The second half is the stronger of the two, with the older and slower songs better put together than the poppier ones. Her vocal style can be a bit much on certain tracks, especially early on, but when she pulls the acrobatics back, it reminds you just how much talent she has. By no means am I going to revisit this one, but it wasn't the worst listen.

When Astrud Gilberto's voice comes in, everything melts away around you and you find yourself sitting in a seaside cafe, watching the world pass by. I'm personally not a fan of Stan Getz's breathy style of playing, but it's easy look past it when you have Jobim and the Gilberto's shining over everything. A gateway to bossa nova for generations, and for this thirtysomething, just the same.

Bonnie gets her groove back. I can't stand late 80s production, but I can look past it when the talent's there. The title song is still strong. It's not pop country! Adult-oriented blues?

It wasn't bad by any means, but to think this was an album I needed to hear before I die is a joke. Not every rock revival band from the early 00s must be exalted from on high.

Political first half, sensual second half. I found myself head nodding more than I expected. Escapade is still a bop.

When Aretha sings, the world stops and listens.

I've known about Lana Del Ray for years but never listened to anything of hers. Welp, I found out today I'm a fan. Thanks, 1001 list.

Sorry, but there is zero reason why this should be on this list.