I’m surprised at how much I enjoy this. I knew from hearing “Rehab” in high school, and various snippets over the years, what her music sounded like, but I didn’t realize how authentic it would come across in an album context. I also was surprised to learn that she wrote all her songs instead of covering old standards — I would have thought there’d be at least one or two covers on here. I realize, listening to this for the first time, that Amy Winehouse was a very unique artist, combining her lyrical and journalistic darkness and edge with a lush throwback soul and jazz sound — and yet coming across completely genuine. She sounds like she grew up studying the origins of the kind of music she makes. Admittedly, by the end of the album, my attention fades a little bit. I’d have to listen a few more times before I pick up on the lyrics and tracks that resonate most. Overall, though, I loved this first listen, added it to my library, and will likely revisit in the future.

Good album. Joni Mitchell’s voice is obviously stunning, and her songwriting and style of singing and song-making is next-level. I found myself frequently wondering “how did she come up with this instrumental bit in between verses?” or “why did she choose this kind of instrumental if the song has this many lyrics?” I do think that the album as a whole is overshadowed by “Help Me,” a masterpiece of a song, and the other songs I enjoyed, “Car on a Hill” and “Just Like This Train.” The rest of it kind of blended together. Overall though, it’s lush and beautiful, and I’m interested in checking out more of her material.

This was decent. I like the sound. I especially liked the really proggy opening track and some of the more subdued songs. By the end of the album, though, songs were starting to kind of blur together and I was getting exhausted of the sound.

The Beatles are the best band ever. Hot take, I know. But I do think they deserve the title, if nothing else, because they were such a force of evolution for rock n’ roll. This album was lovely, as pretty much any Beatles album would be. I definitely prefer their later albums, but this one had “And I Love Her” and “Can’t Buy Me Love,” and got more interesting as the album went on, which was cool. I’ll revisit it someday.

Killer opening track, killer closing track, and all kinds of good old human being rock and roll in between. Bob Dylan is one of the best ever and this is one of his best releases.

I hate to say it, but I’ve never really connected with this album, and that’s coming from someone who considers himself a Bruce Springsteen fan. I enjoy “Badlands,” “The Promised Land,” and the title track quite a lot, but the rest of the songs do very little for me.

Wow, this was a surprise, mainly because I’ve never heard of Jeru before. I was very pleased to find that the entire album was produced by DJ Premier, one of the best beatmakers of all time. Preemo’s fingerprints are all over this thing. It sounds amazing and is already gonna go onto my list of great 90’s rap records.

Totally kicked ass. I’ve only ever known “More Than a Feeling” and “Peace of Mind” and the rest of the album was almost every bit as good as those songs. This has to be one of the best rock albums of the ‘70s. It’s maybe closer to a 4.5 but it would still round up to 5.

This was great, better than I thought it was back when I was doing my R.E.M. binge earlier this spring. You can really tell it comes between Document and Out of Time; it splits the difference between those albums' sounds perfectly. It's in the upper half of R.E.M. records, I think, really good stuff.

It’s always going to be The Black Keys’ best, I think. It’s a good midway point between the authentically raw blues of their earlier career and the throwback pastiche of the later albums. The tunes are great but the production is sublime. I have to be in the mood to listen to this, but when it hits it hits.

At first I was bowled over by how ridiculously Y2K-sounding this album was. Like, the sort of "techno," as pop listeners called every electronic music genre at the time, along with futuristic production effects that I remember being really wowed by at that time, is all over this thing. If I'd listened to it closer to release I would probably rate it higher, but encountering it for the first time in 2024 does it few favors. It sounds extremely dated. Some songs really won me over though, especially in the last half, like "What It Feels Like For a Girl" and the moody and cinematic "Paradise (Not For Me)." Still, I probably won't revisit it unless I'm showing it to my wife to see her reaction.

Four songs in, this isn't really my kinda thing. It's a flavor of swinging, boogie down type of rock that doesn't usually connect with me. It's okay. I guess I can see where The Black Keys got some of their pastiche haha.

Loved this. There were many deep cuts I was unfamiliar with that I really enjoyed. I’ve already listened to it another time or two. I guess 60s folk is a preferred genre of mine! 🤷

Fine. I get swept up in some of the songs. It’s at least as good as her previous album, I think. Still not really my thing, but it’s good enough for a 3.

Dig it. Scratches the Beck itch. Doesn’t really maintain its appeal for the whole album, though.

Beautiful. All my 5s have been 60s folk artists (Blood on the Tracks is a 70s album). But you know what, they’re all excellent. This one might be my favorite, it’s soooo good. Pretty and calm, with obviously stunning lyricism.

Can’t say I’m a huge fan of Elvis, his ‘thing’ has never really been for me. That being said, I appreciate classic stuff. He’s a monumental figure. This album breezes by. I can’t be too mad about it.

I’ve always struggled to get into Blur, despite loving Gorillaz. Ostensibly I should enjoy Bowie-worshipping pop-rock, but very few BritPop bands or albums have ever impressed me. Every now and then a song will jump out at me, and maybe if I dug into the lyrics of this I would enjoy it more. But for now I can only report that it sounds fine, and is doing nothing for me.

Awesome. I'm really happy to find out about the existence of this band. It's like Pink Floyd veered into jazz fusion instead of prog rock. I'm gonna need to give this another few listens before I know how I really feel about it, but by the end of the first listen I was mightily impressed.

Not bad, not amazing. I really loved two or three songs. And I was pretty blown away by Johnny Marr’s guitar playing. Having avoided listening to The Smiths for a long time, I thought it was funny that they sounded almost exactly like I expected. But I didn’t expect to realize just how many of today’s artists are influenced by them. Jangle rock kings, maybe? I gotta learn more.

What a mood, what an interesting mood. Blues but wonky.

I mean, this is the classic metal sound. It’s hard not to enjoy this, it’s an easy 4 if not a 5 right out of the gate. The first thing I noticed was the bass. The bass lines on this album are godly. But focus on the guitars, or the drums, or the vocals instead, and you’ll be just as impressed. I love the metal ballad “Children of the Damned.” Obviously, the best song on here is the title track, but “The Prisoner” is a good second place. I do think that the album begins to wear out its welcome by the last two tracks — perhaps “Children of the Damned” would have worked better as track 6 or 7. The flagging quality toward the end makes it a 4 instead of a 5. I think this album is the reason Jack Black has the vocal abilities he does. Like, I think he grew up trying to imitate Bruce Dickinson.

I don’t think I can say why I’ve enjoyed this album so much more than Blur’s Modern Life is Rubbish, when on the surface they sound so similar. Both that album and this one I could accurately accuse of sounding like Bowie imitators. They both trade in 70s rock and glam aesthetics and they’re both made by scrappy Brits with the attitude intact. I guess I can identify a confidence that Super Furry Animals has that Blur seems to lack, that allows them to make weirder or slower songs like “Long Gone.” This kind of confidence Damon Albarn was able to achieve with Gorillaz. I don’t know why I’m talking about Blur so much. I guess I just expected to dislike this album just as much as that one, but instead, I’ve quite enjoyed it.

Album rules. I’ve had this one in my library for a while, and I’ve adored The Cars for years, so it’s likely this will get a 4 or 5. It really strikes me as one of the best pop-rock/power-pop albums ever made. It just has some great tunes, a wonderfully dry and crispy production, and extremely charming performances. How do you top the first three tunes? “Good Times Roll,” “My Best Friend’s Girl,” “Just What I Needed.” I mean, wow. But the vibe continues through the whole thing. “I’m In Touch With Your World” is silly and fun. “You’re All I’ve Got Tonight” is almost on par with the initial trio of bangers. “Moving In Stereo” is a moody vibe, and its seamless transition to “All Mixed Up” is killer. Honestly, it’s a lot like the Boston album…it sets up a high bar of quality and maintains it all the way through. It’s the execution that pushes it to 5 territory.

General impression: generic but well-executed thrash/speed metal Detailed review: It just gives off a very typical metalhead vibe. Unshaven, ragged and faded black t-shirt, long hair, a little beefy a little flabby, gravel-voiced, shouting about the darkness and Satan and rebelliousness. Nothing surprising or artsy. Deeper thoughts (context): The Number of the Beast came out this same year. Sorry to this band, but this just doesn’t compare. I guess Iron Maiden has a more polished sound, and these guys are more gritty, which some people probably prefer.

General impression: Rocks, but unmemorably Detailed review: This is an enjoyable listen. I’ve always been charmed by Foo Fighters. Dude loves to rock hard but knows how to keep it in the catchy, pop-oriented space better than most rockers. It’s hard not to enjoy the riffs, the drum beats, and the scrappy production all over this album. The problem is that none of the songs really stick in the mind. It’s a little bit faceless because of that. Still, it sounds great and makes me wanna head-bang. Deeper thoughts (context): Are there other Foo albums on this list? I’m mainly confused why this came up before some of the more popular albums with their real hits. We’ll see. I’d personally pick two or three other Foo albums before this one. Score: 3.2 (3 for this list) Number of albums left to review: 974 Number of albums from the list I’d consider “must-listens”: 15 Albums from the list I won't include in mine: 12 (including this one)

General impression: another British self-styled iconoclastic rocker, but one who might be the real deal Detailed review: This album is pretty cool. It’s got a deeply committed rock n’ roll vibe. It feels pretty comfortably at home in each of the types of song it trades in. Lyrically, nothing has stuck out to me, other than the charmingness of “Pristeen.” Overall, it doesn’t sound that different or revolutionary. I’m probably less likely to return to it than the Super Furry Animals debut. But I still will keep it in my library and return to it at some point. Deeper thoughts (context): Was all British music of the ‘90s just a course correction from the ‘80s back to ‘70s style? Soooo much British music I’ve come across on this list just sounds like it’s trying desperately to hold on to ‘70s rock conventions, as if that era held all the possible “true” ideals of rock. Whatever. Score: 3.4 (3 for this list. It almost got to 4 level.) Number of albums left to review: 973 Number of albums from the list I’d consider “must-listens”: 15 Albums from the list I won't include in mine: 13 (including this one)

General impression: beautiful and culturally specific Detailed review: This is one of those albums that I think is different to different people. By that I mean, it’s so direct and specific in its elucidation of the Black experience that I’m sure it feels much more relatable and deep for Black folks to listen to it than it is for me. And it’s very deep and beautiful and relatable in its own way for me! “Cranes in the Sky” is one of the most 5/5 songs to ever 5/5. It’s literally perfect and is one of the most impactful songs I’ve ever heard. It changed me, to be honest. I love it for very personal reasons. But the rest of the album, while gorgeous and impeccably produced, doesn’t reach that same level of universality. Still, it’s a defining piece of art and is definitely a must-listen. Deeper thoughts (context): “Cranes in the Sky” would be on my top 100 songs of all time. That’s all. Score: 4.3 (4 for this list) Number of albums left to review: 972 Number of albums from the list I’d consider “must-listens”: 16 (including this one) Albums from the list I won't include in mine: 13

General impression: one of my favorites from a decade ago, holds up amazingly Detailed review: I knew I loved this album, but I haven’t revisited it a whole lot since the year it came out for some reason, and going back to it, I was right to love it. Wow, it’s an incredible heartland indie-rock album, one of the best ever made, I think. Almost every song hits, and the best ones, like “An Ocean in Between the Waves” and “Under the Pressure” and “Disappearing” (at least half the tracklist honestly) are totally stunning in sound, production, performance, and songwriting. The words are deeply felt and sung. The guitar solos are the bleeding heart of the album. Everything feels true and right. Deeper thoughts (context): Hasn’t been topped by anything in the genre to come out since. Score: 4.9 (5 for this list) Number of albums left to review: 971 Number of albums from the list I’d consider “must-listens”: 17 (including this one) Albums from the list I won't include in mine: 13

General impression: awesome, obviously Detailed review: Going into this, I predicted I’d give it a 4. Listening to it, I’m going back and forth between 4 and 5. Obviously it’s a masterpiece, and it’s one of the albums I have a decent amount of familiarity with going in. I’ve definitely listened to the whole thing at least 5 or 6 times and several tracks many more times, but it’s been many years since my last “Sonic Youth phase” and it’s really nice to go back to them. It’s funny, after listening to a lot of Thurston Moore solo albums (and being largely bored by them), I feel differently about the band lineup. Kim is the spiritual leader, but Ranaldo is I think my favorite. I don’t know what guitar parts are his, but I love his vocals and lyrics. Anyway, this album is incredible and a lot of that is the perfection of the production capturing the raucous, chaotic Sonic Youth sound in a studio context. I am still not sure if this is my favorite SY album…I’m very partial to Goo and Dirty, not to mention later albums like Murray St. and Sonic Nurse. But I cannot deny that this album deserves its reputation as Sonic Youth’s defining piece of work. Deeper thoughts (context): Despite the influence this album has clearly had on future generations of rock artists, I still don’t think anyone’s captured the same magic since them. Score: 4.6 (5 for this list) Number of albums left to review: 970 Number of albums from the list I’d consider “must-listens”: 18 (including this one) Albums from the list I won't include in mine: 13

General impression: big penis rock Detailed review: This isn’t for me. It’s big-corporate-takeover rock. That said, no one can deny “Jump” and “Panama,” which kick ass. Honestly, the production rules, the guitars and synths sound so crisp and clean and powerful. But god, the lyrics suck. The vocals are bleh. Just shiny, muscly testosterone. Deeper thoughts (context): This may be the best any “hair-metal” or 80’s jock rock album gets from me. Score: 2.9 (3) Number of albums left to review: 969 Number of albums from the list I’d consider “must-listens”: 18 Albums from the list I won't include in mine: 14 (including this one)

General impression: beautiful, classic, essential, but not for three hours straight. Or even two. Detailed review: I’m keeping this in my library because I do feel like it’s an essential document of a powerful time in American cultural history. One of the greatest American singers performing songs by one of the greatest American songwriting teams. The production is lush and lavish. If you’re at all inclined to appreciate older forms of popular music, what’s not to like? It’s pristine, it’s classy, it’s got so much personality. It’s just that this is a long-ass collection. It’s hard to imagine anyone loving an entire 3.5-hour listening session of this without getting bored or losing interest in some way. 5 for the quality of the music, and 2 for the listening experience of the album. Deeper thoughts (context): if you don’t like this, you are not historically minded and/or you have no patience. Score: 3 Number of albums left to review: 968 Number of albums from the list I’d consider “must-listens”: 18 Albums from the list I won't include in mine: 15 (including this one)

General impression: somehow one of Bowie’s best ever Detailed review: This came out when I was first getting into David Bowie. I’d heard of him for a long time and heard a few songs, but when this came out it was the perfect catalyst for a deep dive. For that reason I will always hold this album, and particularly “The Stars Are Out Tonight,” in a special place. Listening through the entire tracklist again was interesting. As “I’d Rather Be High” turned into “Boss of Me,” I was thinking, okay, well I guess the last half of the album isn’t on the same level. But it turned out, only “Boss of Me” gave me that impression. Song’s a dud. The rest of the tracks? Killer. Very few low points, and many many high points. Deeper thoughts (context): I still haven’t listened to his ‘90s or ‘00s output, but it seems amazing he was able to come back with such a strong force with this album. And of course, Blackstar is one of my favorite albums of all time. Score: 4.7 (5) Number of albums left to review: 967 Number of albums from the list I’d consider “must-listens”: 19 (including this one) Albums from the list I won't include in mine: 15

General impression: I love him, but as a whole, I only like this album. Detailed review: Let’s get this out of the way — there are three perfect, 5/5 songs on this album: “Tiny Dancer” (obviously), “Levon,” and “Madman Across the Water.” These songs rule. The other six tracks, though, while featuring great arrangements and great singing, are merely good. There aren’t many hooks. “Razor Face” is okay, “Holiday Inn” is pretty good, “Indian Sunset” is cringey as hell, and the rest are pretty forgettable. I think the Elton/Bernie combo increased their hit rate as time went on, writing more memorable melodies. They’re some of the best songwriters ever. But on this earlier release, the quality isn’t very consistent. Deeper thoughts (context): not really Score: 3 Number of albums left to review: 966 Number of albums from the list I’d consider “must-listens”: 19 Albums from the list I won't include in mine: 16 (including this one) General impression: I love him, but as a whole, I only like this album. Detailed review: Let’s get this out of the way — there are three perfect, 5/5 songs on this album: “Tiny Dancer” (obviously), “Levon,” and “Madman Across the Water.” These songs rule. The other six tracks, though, while featuring great arrangements and great singing, are merely good. There aren’t many hooks. “Razor Face” is okay, “Holiday Inn” is pretty good, “Indian Sunset” is cringey as hell, and the rest are pretty forgettable. I think the Elton/Bernie combo increased their hit rate as time went on, writing more memorable melodies. They’re some of the best songwriters ever. But on this earlier release, the quality isn’t very consistent. Deeper thoughts (context): not really Score: 3 Number of albums left to review: 966 Number of albums from the list I’d consider “must-listens”: 19 Albums from the list I won't include in mine: 16 (including this one)

General impression: lush, wondrous and strange. Detailed review: What is this? I’ve heard the name Mercury Rev before but never had enough to get properly curious. Apparently they’re somewhat connected with The Flaming Lips, mainly through the producer Dave Fridmann. Anyway, they do sound like the Lips, but they strike me as softer, sadder and a little more grounded. I fell in love with the first song immediately, and each track after it seemed to create its own little sound-world, an ability I adore in good bands. I had to give this two listens, because I was very impressed on my first listen, but I’m wary about giving albums a 5 after only one cursory listen. After the second, my score has reduced a little, but I still remain very happy with the discovery of this album. It’s a lot more vibrant and creative than I expected, and I’ll definitely be returning to it. Deeper thoughts (context): Time to dive into some more Mercury Rev albums, and this also might kick off a Flaming Lips phase too. Score: 4.4 (4) Number of albums left to review: 965 Number of albums from the list I’d consider “must-listens”: 20 (including this one) Albums from the list I won't include in mine: 16

General impression: it’s good and I hate that Detailed review: I just don’t like Taylor Swift, and I like her less as time goes on. But this album came out at a particular time in my life - mid-20s - and I can’t help but feel nostalgic for that time when I listen to 1989. The production is perfectly clear and crisp, and some of the songs on here — “Welcome to New York,” “Out of the Woods,” “Wildest Dreams” — are total hits. I have to be fair. This album is pretty great. If only Taylor Swift would go back to paying this much attention to her songcraft, instead of her “lore” and fanbase… Oh and one more thing: I listened to “New Romantics” for the first time this listen. What a banger. Should’ve been on the main album. Deeper thoughts (context): There’s a “Taylor’s Version” of this that I don’t care to even check out. Score: 3.6 (4) Number of albums left to review: 964 Number of albums from the list I’d consider “must-listens”: 21 (including this album) (and only because you can’t simply ignore Taylor Swift, and if you’re going to listen to her at all this is the album) Albums from the list I won't include in mine: 16

General impression: love jazz, love Burton, this is not my thing Detailed review: It’s a little too silly soundtrack-y. Like it sounds like it is meant to score some silly little scenes or something. It just isn’t really my vibe, maybe it’s because I haven’t explored or connected with this kind of subgenre before. I dunno. I adore Gary Burton’s vibraphone work but it’s really just the compositional style of this that leaves me cold. Deeper thoughts (context): sorry Score: 2 Number of albums left to review: 963 Number of albums from the list I’d consider “must-listens”: 21 Albums from the list I won't include in mine: 17 (including this one)

General impression: It’s like, minimalist blues? Detailed review: I’m really enjoying this. It’s stripped down and simple in the best ways. It’s got perfect little riffs and some killer solos. The production is fucking pristine — everything sounds so crisp and distinct, and of course that is partly due to them being a power trio. I love a good trio. The first tune, “Waitin’ for the Bus,” absolutely rules. “Move Me on Down the Line” kicks ass with it’s solid bassline and main guitar lick motif. There also seems to be a pretty even balance between badass toughness and vulnerable emotion and sadness. Rock and blues, basically. I wonder if these guys made a better album? I’ll be impressed if they did. The only reason this isn’t getting a 5 is because it’s not really my favorite style. Deeper thoughts (context): I literally have only ever known “La Grange” and maybe just heard/absorbed a few others. Blues rock is a genre I’m pretty ignorant in. It’s not a mood I get very often, but I like it when I’m listening to it. Score: 4 Number of albums left to review: 962 Number of albums from the list I’d consider “must-listens”: 22 (including this one) Albums from the list I won't include in mine: 17

General impression: One of the old favorites. Wilco in “rock revue” mode. Detailed review: I remember coming across this CD in like a Barnes & Noble or something back in the day and being intrigued by the positive comments I read, noticing that it had received a five-star rating (from what, who knows). I’d been curious about Wilco after reading about A Ghost is Born and Sky Blue Sky when those came out. Being a greedy CD-buyer, I always felt like double CDs were more worth the money, so I was eager to try this one out. To this day, I think many of these tracks are classics: “Misunderstood,” “Far Far Away,” “Monday,” “Red-Eyed and Blue,” “What’s the World Got In Store,” “Say You Miss Me,” “(Was I) In Your Dreams,” “The Lonely 1”… that’s almost half the album right there. I was thinking, since it’s not in my top 3 Wilco albums, that maybe it would be a 4. Nope, it’s a 5. In fact, maybe it is in my top 3? I’ll have to reevaluate after I listen to Summerteeth. Deeper thoughts (context): really an early sign that Wilco was the real deal and in it for the long haul. Score: 5 Number of albums left to review: 961 Number of albums from the list I’d consider “must-listens”: 23 (including this one) Albums from the list I won't include in mine: 17

General impression: still rules. The only Coldplay album you need. Detailed review: Given the way Coldplay’s career has gone, I sometimes expect to return to their early work and find that I’ve lost some esteem for it. Not the case. This is a truly excellent soft rock album whose main appeal is simply that it’s a collection of excellent songs. Good lyrics, good music, good riffs, clean production that stays out of the way. “Politik,” “Clocks,” “Daylight,” the title track, and “Amsterdam” are stone-cold classics, and the rest of the songs are almost as good. The album is introspective and moody, tinged with a tiny streak of wonder and hope. I love it at least as much as I always have. Deeper thoughts (context): On the production — I realized that my main issue with most things Coldplay have done since this album is the overproduction of their studio recordings. It’s like they got big, and got a taste of a big budget, and got in the habit of getting carried away in the studio. I wish they’d go back to a focus on good songwriting and little else. Score: 4.8 (5) Number of albums left to review: 960 Number of albums from the list I’d consider “must-listens”: 24 (including this one) Albums from the list I won't include in mine: 17

General impression: quite nice Detailed review: This is a lovely little indie-pop record. Having never listened to Goldfrapp, but understanding in context that they’re more of a synth-pop band, I didn’t expect this to be so measured and sophisticated. I liked the quieter songs better, like “Eat Yourself.” Liked the poppier tracks less, like “Happiness.” I may return to this at some point, though admittedly I’m not in a rush to. It’s just kind of a nice, breezy thing. Deeper thoughts (context): I have none. Score: 3.2 Number of albums left to review: 959 Number of albums from the list I’d consider “must-listens”: 24 Albums from the list I won't include in mine: 18 (including this one)

General impression: soulful and very interesting Detailed review: I really loved reading about the making of this album while I listened to it. How many other albums have been created primarily to pay alimony to a divorced spouse? Just the idea of - “well, I’m making this for you because I’ve been ordered by a court to, and I’m bitter about it, but I might as well use this time to get out all the feelings I’ve ever had about our relationship and breakup” - it’s pretty wild. It also means that the songs are often meandering and pathetic, but still, it’s never boring. “Anger” was intense and passionate. “Sparrow” was absolutely gorgeous. And “A Funky Space Reincarnation” is fun just to witness the paradigm shift Star Wars was having on all different art forms. Okay, so this album doesn’t have very many hits to play back. But the story behind it, the lush, beautiful, layered soul and R&B, and the uniqueness of its concept and recording make it a fascinating document. Deeper thoughts (context): I’m excited to listen to What’s Going On? and other Gaye albums, because he’s an interesting artist who led an interesting life. Score: 3.9 Number of albums left to review: 958 Number of albums from the list I’d consider “must-listens”: 25 (including this one) Albums from the list I won't include in mine: 18

General impression: incredible songwriter. An album quite full of life for being someone’s final album before an early death. Detailed review: I’m ashamed that it’s taken me this long to listen to an Elliott Smith album. Especially because I just fell in love with it at first listen… This album is full of catchy and wonderfully written songs. I love Smith’s way with a chord progression. And despite being really well-produced, with all kinds of flourishes and depth and layers, this is an album that would probably be just as good if it was just demos. At least the production backs up the songs instead of getting in their way. “L.A.” is amazing and you can totally see Smith’s influence on people like Christopher Owens. This review isn’t really going anywhere, mainly because I’m just a little bowled over from loving the album. Deeper thoughts (context): I definitely want to listen to his whole discography now. Score: 5 Number of albums left to review: 957 Number of albums from the list I’d consider “must-listens”: 26 (including this one) Albums from the list I won't include in mine: 18

General impression: isn’t rape culture fun? Detailed review: I guess the idea of a man being relentlessly horny and singing often about his penis used to be funny and cool in the 70s. In 2024 it’s gross, overdone, unnecessary, and there’s nothing clever or funny about it. I’ve been dreading getting to this album since reading the title. It’s not even musically clever, it’s good old boy UK rock and roll, touches of Elton, touches of Bowie, hints of the punk scene, and nothing unique or novel of its own. Deeper thoughts (context): The only explanation I can think of for this being on the list is that the editor has a heavy UK rock bias; that much has been clear already from the fraction of the list I’ve listened to. But with the other artists, they were at least recognizable names from the pop music canon. I can understand this dude being famous in British culture, but that shouldn’t mean the rest of us need to listen to this album over any number of other albums from other countries’ music traditions. Score: 1 Number of albums left to review: 956 Number of albums from the list I’d consider “must-listens”: 26 Albums from the list I won't include in mine: 19 (including this one)

General impression: raw, playful, energetic alt-rock Detailed review: While it’s missing some of the fiery weirdo energy from the Pixies material I know, it still has this sort of playful, off-the-cuff urgency to it, like the songs had to be written and recorded before they faded or curdled into something lame. Some are really short, some are a more traditional length, and they all sound like they were made in the heat of rock ‘n roll inspiration. There’s like, some Elvis Costello to these songs, something a little more rooted in straightforward structures. The wacky energy comes mostly from Black’s vocals, which are sometimes sweet and measured and freaked out at other times. Admittedly none of the songs really stand out from the others, nor are they on the level of Pixies best tunes, but it’s still a good energy. Deeper thoughts (context): I’m underrating this, honestly, because I enjoy it more than a 3. But I just don’t think it’s good enough for a 4, and it’s probably not a must-listen like Pixies albums are. Score: 3.4 Number of albums left to review: 955 Number of albums from the list I’d consider “must-listens”: 26 Albums from the list I won't include in mine: 20 (including this one)

General impression: beguiling, strange, mysterious, compelling, timeless Detailed review: This is such a strange album. Back when it came out, and was getting all the acclaim, I simply did not get it. The concept went over my head and none of the songs seemed catchy. I must have been too young. Now, thirteen years later, I’m very into the concept (probing the history of one’s country through its wars and conflicts) and pretty amazed at the musical approach. Reading up on PJ Harvey, she is obviously a Bowie-esque figure, switching up her approach and aesthetic with every album, never repeating herself, swinging for high-art impact. Still, I think I may need to listen to this album at least twice through before I can properly rate it! It just seems so dense; I’ll want to read through the lyrics and think more deeply about the songs. I’m still uncertain about giving it a perfect 5/5, even though its artistry impresses me so. We’ll see after my second listen. Deeper thoughts (context): After two listens I still find it mostly a cerebral exercise; it’s heartbreaking conceptually but my heart doesn’t feel broken, if that makes sense. Score: 4 Number of albums left to review: 954 Number of albums from the list I’d consider “must-listens”: 27 (including this one) Albums from the list I won't include in mine: 20

General impression: pretty awesome for being the “first rock opera”…but needs trimming Detailed review: I was pretty excited to listen to this, and was a little surprised upon research that this came out before Who’s Next. I thought it would’ve been later in their discography. But whatever. Anyway, I wanted to take it seriously so I read up on its general storyline and then read lyrics along with listening. I think it’s a pretty great and clever story, to be honest, and doesn’t rest on cliches like it could’ve as a “hero’s journey.” I definitely felt like there were a lot of unnecessary filler tracks to move the story along, and I would personally cut 8 of the 23 tracks. I’m going to do that in my music library and listen again, and I bet I’ll love it more as a 15-track album. That doesn’t count for rating it though, so I’ll just give it a 4. Side note: the casual fun of “Fiddle Around” and the “We forsake you / Gonna rape you” bit of the last song is truly horrifying. Maybe I’m a pearl clutcher but dayum! Deeper thoughts (context): Apparently there are 5 Who albums on this list, so I guess I’ll have a good sense of their discog by the end of this. Score: 4 Number of albums left to review: 953 Number of albums from the list I’d consider “must-listens”: 28 (including this one) Albums from the list I won't include in mine: 20