1001 Albums Summary

Jazz fusion. A 1970's cop show score. Long for my tastes and delves into elevator music territory at times (I am ok with that) I can hear the influence on so many musical styles, but ultimately this album is not for me.

This is the album that made me fall in love with Radiohead. (I Guess the World fell too) They moved away from the grunge of their earlier album and moved into Britpop. Some flashes of the themes and sounds of later albums but not quite there. There's a couple songs at the end that kind of drag for me, but this is solid for most of it's runtime.

Today I learned what a bandoneon is. So that's something. Look, this is not for me, so I hate to judge it by my enjoyment. Ready for the next one.

I know of Happy Mondays from the film 24 Hour Party people. Great movie, but just because the film says they re geniuses doesn't make it so. Okay sure I suppose it is a good example of Madchester sound, but I could never get into them. This album is very same sounding throughout and not a fan of the singer (Maybe Shaun?) It's of the moment for sure but the moment has passed.

What a debut!

You know. It's The Beatles. What do you want me to say that hasn't been said by fans, historians, contrarians, and everyone in between? Anyway, I prefer their earlier work here. So there you go.

Awesome industrial album. Thrash, psychobilly, and all.

I definitely hear how this influenced other artists. New wave and New Romantics especially, along with Glam artists as well.

This one is a bit of hodgepodge. We all know "Solsbury Hill" which is great but the rest of it is kind of forgettable. Gabriel went on to better things,

Listening to this album: "Just get to "In-A-Gadda-Da-Vida" already! Listening to "In-A-Gadda-Da-Vida:" Just end already.

Album cover: 4 out of 5. Album: Oof. An album screaming for a musical. One that stays off Broadway. It succeeds at what it wants to do which is to be an overly bombastic "rock n roll" album. I don't want that though.

I know Moby and I know this album was huge (couple of hits, all the commercials and movies, etc.) but this is my first full listen. It's pretty chill throughout and despite it's length I found it to flow by pretty well without me realizing it. I like it.

I didn't think this would be for me. At this point the well-known songs are so well-known as to be a bit exhausted. (Chain of Fools, (You Make Me Feel Like) A Natural Woman) But some of the deep cuts had great musicianship and were good to hear.

Great stuff right here. I love the first few tracks with their experimental, unhinged, wild style. Definitely Proto-punk/garage/avant-garde/however you want to describe it. The back half gives a more mainstream garage rock sound, as if the band were either leaning towards more pop-appeal, or were getting "better" with writing and playing, or were pushed in a different direction. It's not as satisfying for me, but it's still pretty solid.

This is good stuff. These songs, though very of their time, can still hit hard. I like how it straddles the line of many different genres (Funk, rock, metal, etc.)

Wow. This is quite good. The first few songs are actually amazing. The vibe changes in the back half , a little more laid back for my liking but still good. This was a nice surprise as I did not know what to expect.

The joys of this 1001 albums project are many: First, getting an album you already know and love. "Yes! This is great and I love giving it another listen!" Second, getting an album you have never heard of and finding some joy with it. "This is nice, interesting, new." Third, Getting an album from an artists you are vaguely aware of and finding the good in it. "I didn't think I liked this artist or their genre, but now that I am listening I can see it's value." And finally the ironic joy of being confirmed in your feeling of an artist that you vaguely know. Pretzel Logic by Steely Dan falls into the last category. Prior to this listen if you asked me if I liked Steely Dan I would have told you no, they are boring classic rock that doesn't interest me. But if you followed up by asking me to name a Steely Dan song I would have to admit in embarrassment that I do not know any Steely Dan songs and that my dislike is based on nothing tangible. But, Pretzel Logic starts with "Rikki Don't Lose That Number" which I do know. And hey, it's boring classic rock that doesn't interest me. The rest of it is more of the same. So now when asked if I like Steely Dan and can confirm that no, no I do not like Steely Dan.

This album is very middle of the road. Aside from one or two songs I don't think it is all that interesting or memorable. A bit of an odd duck here where I don't get the reason for it's inclusion.

Brilliant. Every one of these tracks should be played on the radio during the Season. All these artists and the producer (big separate the art from the artist energy needed on this one. Skip the final track I say) working at their peak.

Triple Album?! I guess when you're a Beatle they just let you get away with anything. That's a long time time for me to spend with any album, let alone one from a genre (classic rock) that I don't particularly go for in general. There were some good songs here that I wouldn't mind hearing again and of course the more well-known ones which, although popular aren't so popular to have been played to death for me. A single solid album can be found in here, but who am I to curate which songs would make that album?

Lounge act Elvis! "Suspicious Minds" was good, but even though Elvis made it big, I prefer other versions of it.

What it's the turn of the 21st Century and you want to hit the club? I have just the thing for you. What, you also want a few tracks to get a little...wink wink? This baby has all that too? What you want it to come in at a nice 45 minutes or so? No can do. It stretches a little too long at the end. By then you'll be too tired for the club, and the...uh...wink wink? You'll be done with that as well. But this album will keep going. It's fine though for that time and for what it is. A good departure from the clean cut boy band sound.

Solid sounds of Psychedelic San Francisco. As with many of these classic rock albums I find the deep cuts to be more interesting than the extremely well-known hits.

Easy listening, adult contemporary, soft-rock. Call it what you want, but mostly it just reads as not for me. This is grocery store music: unassuming and inoffensive. It's got that generic 80's sound to it. It's the music that would play in a bog-standard fish out of water comedy from that time. You've got a man from Siberia visiting America for the first time ever? Teach him how to line dance in a country/western bar with a few of these songs. Hilarity will ensue. Not for me, but hey, that hair is hue and I love the Rogue-esque stripe of white in the red

I feel like I am on hold. This should be tinnier and coming through a crummy department store speaker. In that sense it is a nostalgic trip into AM gold times. I just don't get this kind of soft music.

This was a surprise. every now and then I enjoy a lushly produced chamber-pop album. The cover through me off I admit, but the music was good.

"Cliff, Everyone's seen fire and rain" "Oh. Well, then, i guess I got nothing to say."

It's America's Favorite Uncle but back in the day. The G-Funk/Gangsta sound from Dre and Snoop is what makes this album pop like crazy. Dogg's smoothness and flow are solid at his young age on this. And speaking of young, hoo-boy, I was young once too and these lyrics are definitely juvenile. Have I said all that and worse at that age? Yeah probably so who am I to be a prude about it? But the lyrics are definitely problematic to say the least.

"Golden Years" is grating, the rest of it is decent.

Violent Femmes debut is a classic. This one hits hard for a disaffected lovelorn young person, which I was when I first heard it. "Blister in the Sun," "Kiss Off," "Add it Up," are practically perfection and pull you right in. For me today they sounded like an acoustic, American Buzzcocks.

Modern folk-rock isn't really my thing and to be honest I was expecting whiny, warbly, boring music. But, I was surprised to find most of this album pleasant. (with just a bit of the whiny, warbly, boring music in the middle) The artist had the decency to mostly keep the tracks at Three minutes or less allowing a nice variation that kept it moving.

Wonderful album. Early Echo & The Bunnymen really deliver the post-punk energy. Nervy, a bit dark, but full of life. My only issue with this one is that the songs lack variety.

"Don't Shiver" is one of my all-time favorite songs. I think it's brilliant. The rest of the album is hit or miss for me, but overall I like it.

Sad Beck chills you out with sad songs. It's fine for background but never really grabbed me.

You might call it easy listening, but I don't think there is anything easy about getting through this album

This was a struggle for me. A lot could be said for vocal lessons. I am not a fan of Harmonica. Acoustic vs. Electric. Folk vs Rock. No winners here.

It seems that when female recording artists share the same producer, their music sounds interchangeable to me. I'm not immune to a well-tuned pop song, but I'm also not impressed either.

The drum sounds could be mesmerizing at times.

Fun garage rock.

I always (fairly? Unfairly?) thought of Muse as "What if Radiohead continued their rock trajectory from 'Pablo Honey' instead of going paranoid?" The vocal similarities are there so it's not far of a stretch. This album definitely has it's moments, and "Knights of Cydonia" is still epic.

I'm here for "B.O.B. - Bombs Over Baghdad" What a song!!! 5 out of 5! Do I need to hear the rest, or should I just call "B.O.B." a masterpiece and call it a day? I wish the rest of it had the same energy as "B.O.B."

Masterpiece! Every song has something great. The title track defines epic. Brilliant.

When people say 80's music their heads usually go to synthpop and new wave but often forget that the Rock sound found here was also ubiquitous. The hits are the hits and have been in the zeitgeist since their release. And no, I am not going to deny that "Photograph" is a fun song. The non-Singles all have that same generic 80's Rock sound, which turns out should just be called the "Mutt" Lange sound. A lot of it sounded like AC/DC to me. Mostly I can do without that slick 80s rock production. I wasn't much a fan back then and not much has changed in the ensuing years. I did find that "Stagefright" wasn't too bad though. I'm not going to ever come back to Def Leppard but I can understand the appeal.

Sexy times with Earth, Wind & Fire. I like the funkiness and flute on "Africano." The rest doesn't do much for me.

Front-loaded 70's Rock. Boston came out of the gate swinging with this one.

As opposed to previous LCD Soundsystem albums that were solidly Dance-Punk, this one leans into a more post-punk sound. More than just inspired by those sounds, here LCD is paying homage to them. The influences are very direct here. I like that about it.

The times when it is not Nu-Metal are good. Thrash, heavy, makes you want to bust through a wall. But the Nu-Metal bits? Makes me want to hit my head into a wall.

Some solid, almost punk type thrash metal here. I like the instrumentals.

Obviously a gamechanger. They always say how this album and grunge spelled the end of hair metal, and while they is sort of true, What it truly spelled the end of was the 80's. The raw sound of three musicians and their instruments took over as the slick synthetic 80's sound went out of vogue. (for the most part. Some of that stuff stuck around for a bit, some of it evolved, but let's stick with the story) Apart from the "important cultural moment" of this album is the fact that is just a damn good rock album. At this point in my life I could never hear the hits from here again and be fine. But the 1, 2, 3 punch of "Teen Spirit" "In Bloom" and "Come as You Are" is honestly quite ana amazing way to open this album up. Of those three and other hit "Lithium" I've always preferred "Come As You Are" (Ironically cribbed from Killing Joke's 'Eighties'" Nowadays I like the deep cuts. Though when talking an album of this stripe it's hard to think any of the songs are buried "deep"

I remember loving this album back in the day. It was exciting, fun, decidedly British, and energetic. I don't think of any of those descriptors anymore when I think of the Arctic Monkeys, but this album still rips.

This was good, and not just for the bittersweet reason of it's release and Bowie's death. I liked the jazzy elements.

I was expecting an album of mostly songs like "Money For Nothing" which it turns out is a bit of an outlier on the album. I wouldn't say this album is all over the place, but it did have some surprises for me. Blues, pub-rock, some folk elements. A bit of it all. Singer kind of reminded me of Joe Strummer in his post-punk days. (word to the wise, when listening to and singing along with "Money For Nothing" you can drop the slur and use the word "Clampett" instead, like the Weird Al Satire "Money For Nothing/Beverly Hillbillies.")

Felt like background music to some Hippie B-Movie.

It's like an 80's mechanic's garage in here. There's some solid songs here, obviously the hits. I really enjoy "I'm on Fire" despite the creepy lyrics. White it is always funny when people think the title track is some jingoistic, rah rah, patriotic song, I really can't blame them either. After all, the only bit that isn't mealy mouthed nonsense is the chorus. And it pumps you up.

What a great album. It's fun, classic, full of hits. The deeper cuts take one back into the MTV 80's era.

Coffeehouse songs. Pleasant enough to sip to, but nothing catches me beyond that. okay, I liked "All I Wanna Do" enough back in the 90's and it is still a sing-along classic today.

"Baba O'Reilly" is a great song. A classic for a reason. And of course "Behind Blue Eyes, and "Won't Get Fooled Again" have stood the test of time. They're not for me, but they are known. I was hoping that the deep cuts would bring me something hidden and fun, but they are mostly forgettable.

This was an odd one. The singing style was unusual. A crooner who often followed his own melody. The song comparing Girls and Dogs was like proto-incel stuff. The production though. I want to say "killer" but that's obviously in poor taste. Spector's genius strikes again.

What a great album. All the hits hit hard, and the deep cuts could've been hits. That one, two, three punch of opening tracks is bold. I am here for it.

Like most Pixies albums, I can find some things I like. Here it's "Velouria" and the opener. But then I lose interest.

Never heard of this band. I'd definitely listen to more as this was enjoyable.

Better than the last Dylan I listened to from this list. Possibly because that one was live and this one has studio polish. Which can help with some of my issues with Dylan. i.e. I do not like his vocal stylings, nasally and yell-singing. I say it helps hide these things, but it doesn't solve them for me. The songs are a bit long as well.

Starts fine and exciting, but quickly gets boring, with very dated disco beats. I'm sure it was hot at the time but it sounds stale by now. Obviously this is the precursor to Thriller where the Q sound would dominate and hit hard.

Nice, if a little low-key for my interests. Chill background noise, but nothing stands out.

This was enjoyable. Much better than 70's Elvis. Young, energetic, fun.

At 8 or 9 years old this was one of my favorite cassettes, so (haha) this is a blast from the past. I was part of the original MTV generation, and the video for "Sledgehammer" and a lesser extent "Big Time" were in heavy rotation. Being a cassette though it was just easier to listen to the whole thing which is why all these years later I can still sing along for the most part. I find myself still enjoying this. It sounds great, a nice big 80's sound. I really appreciate the sick bass in "Big Time" Songs like "Red Rain" and "Don't Give Up" are a little over-earnest, and I don't find Gabriel to have a good singing voice, but it works on the hits, and "That Voice Again" and especially the closer "In Your Eyes" The latter which is probably Gabriel's masterpiece.

Psychedelic Britpop that doesn't break much ground. It's fine if you like this kid of stuff. My tastes for it wax and wane.

Nice Motown Funk

I remember the early days of the current century. When a band emerged to save Rock and Roll. That band was The Strokes. So much hype surrounded this album and band. Which is a shame because It can't hold the weight of all that. Hell as a young one I tried to bounce hard off this band because of all that hype. But I gave it a chance and thought it was excellent. It's an enjoyable record. It's fun. It was a breath of fresh air after the years of post-grunge and nu-metal. Ultimately it didn't save Rock and Roll but it did lead a charge of similar sounding bands. Looking back you can hear this sound in other artists of the time.

There are a few good spots here and there but ultimately I find this album too long and boring. A shame as I really fell hard for Arcade Fire with Funeral.

I love this album. Every song is solid. Great band that I always can come back to.

Blues bar rock. Fine for what it is, just not for me.

Very much a drag at the end. Cee Lo's voice can be an acquired taste, and I have never acquired it.

When I saw Hot Chip as the offering I was a bit crestfallen. I've given them a couple of chances and while I think I liked some of their output, it was never anything I came back to. I didn't even recognize the album title. Not that I think they have a "popular" album, but this one seemed to have come out years after they might have been a fresh new thing and more of an established act. Well, my initial feelings gave way to real enjoyment. This was very good, and brought my ears pleasure. I am ready to give it another spin.

As a child in the late 80's Guns n' Roses came out and seemed dangerous. They seemed separate from the big hair 80's glam metal from the time. Better though. Nearly 40 years on and the danger is gone but the hits here remain. You can't deny the opener "Welcome to the Jungle," it really is a statement song from the band. And "Sweet Child O' Mine" is probably the greatest hard rock ballad ever written. I only wish there were some hidden gem deep cuts with the same power but alas, they are lesser known for a reason. Still, as a debut the band is tight and when they hit they hit hard.

It's funny, because just recently I saw a Spotify playlist called "Marvin Gaye's clueless ass" with song titles asking questions including the first two here. ("What's Going On" and "What's Happening Brother") Old Soul, R&B, is not something that normally appeals to me, but this is good stuff. Very evocative of the times and yet timeless. It's easygoing but in a pleasant way.

Sometimes the punks grow up. Was The Jam punk? I don't know. The Jam had some good songs, but I don't really know much about them. That Weller has a long solo career after The Jam was completely unknown to me. Sadly it's because these songs fail to register anything except a ho hum feeling. Disappointing really.

Fine, weird 60's freakout. I'll be honest, the name Captain Beefheart has always steered me away. That's probably the point.

Let me just start by saying that in some ways I am a simple animal. A solid beat, and some hard rock riffs will get my head bopping. But then the vocals kick in, and another animal instinct kicks in: rage. Simple, juvenile, misogynist, braggadocious , and mostly offensive. Offensive to my ears that is. Then rinse, wash, repeat for 71 minutes. 71 minutes of same sounding tracks, conveying the same message. It's too much and even the solid beats, and heavy riffs that got me going start to grate on my nerves. Take this down to a slim 45 minutes and I would still not like it, but at least it wouldn't be as much of a slog. Well, no, it still would be.

Fine for being pre-grunge, college music, alternative, whatever you wanna call it. Outside the mainstream, and sounding what like what would come after . However a lot of it sounds half-formed.

I get it. Bono is pretentious, and has been since at least U2 dropped their Post-Punk sound for arena-friendly rock. But (and this is only based on my personal feelings) I like to think that he and the band have been humbled since their iTunes debacle and their fall to legacy act, no longer cutting edge status. All of this to say that I enjoy U2, and I do it unapologetically. I would say that this album is the last truly great album the band put out. And coming 20 years after their start that is no small feat. Unlike other albums this one doesn't chase trends, or make trends. What it does is sound like U2 doing U2. You've got arena friendly rock, you've got emotional pop, and everything else they do well. This is one of my favorite albums of theirs and every time I listen to it I find it highly enjoyable.

Back in 1994 "Girls & Boys" was a breath of fresh air from a few years of dour grunge. This was fun and foreign (to this American Teen) But beyond that song they never really caught on for me. I enjoyed this listen, but after the few songs I know it didn't leave much else.

Look, Let's all just have a "Jamaica Jerk-Off" and move on okay?

I have to fight my own anti-classic rock stance on this one. A lot of these songs I am more than familiar with as I have been exposed to Zeppelin for a long time. Okay, sure the hits are a bit repetitive in lyrics and sound, and yeah Plant is moaning in Pleasure sounds while making not subtle at all innuendoes. But, as I try to put myself into a late 60's early 70's mindset, I can't help but think, I'd probably dig this a lot. (who am I kidding, I'd be a non-hippy square listening to some crooner)

Just about a perfect album. It's political. It's fun. It's punk. It's rock. It's ska. It's excellent. If you're listening and loving it but need a break , you can skip out on "Lover's Rock" the only real dud here. The rest of it though is amazing. Top tier.

Varies between kind of good to kind of unbearable. Reminds me of the Violent Femmes if the Violent Femmes were much less talented. Cut the unbearable tracks off and this would be a solid album for me.

What a sonic punch to the ears! This was fun, rollicking, and glorious. I love it!

I like the Beastie Boys, and as a debut that helped originate the mix of rap and rock this is oretty solid. Of course I feel like I am at an 80's house party with this and that is always a good time. But the personas of the Boys on this one is very-outdated, definitely obnoxious, and they were wise to distance themselves from it as they kept going.

What a blast! The debut of the only band that matters. They came out swinging.

I enjoyed this more than I thought I would. Possibly because it reminds me of youth. "Gimme All Your Lovin" "Sharp Dressed Man" and "Legs" were huge back then. The rest or the album shares that slick sound. A sound that is both thoroughly 80's yet completely timeless.

This was unexpected and really good. I had heard of PJ Harvey but I would be hard-pressed to say I had ever heard PJ Harvey. This was some really good 90's Female-fronted Alternative Rock. Harvey should've been bigger.

Twangy honky-tonk. Sounds fine for what it is.

The power, epicness, and emotion of the best songs here really carry it into greatness. I'm talking about "Tunnels, "Power Out," "Wake Up," and "Rebellion" These songs hit me hard and evoke genuine emotion with their beauty. The rest of the songs range from Good, to skip, but the greatness of those mentioned above overshine them all by leaps and bounds. Great album.

Fine 60's Pop album with a little psychedalia thrown in. It has it's moment. This review if for The Byrds.

I'm sure finding 1001 Albums is hard. I know I would be hard-pressed to find that many. And yes, it would be filled with music I didn't really like all that much. I would have to log the hours and do the research to find the "important" albums of those genres, artists, etc that I can do without. And when I ran out of the classics that I like , and I ran out of the "important" ones that I don't, I would probably still have a large number of albums needed to reach my quota. What would I do then? Go year by year and look at top-rated albums? Go year by year and look at top-selling albums? And after that, the number needed would winnow down I am sure, but would I have reached 1001? Again, that is a lot of albums. Eventually I would just go through my own collection and say "I really like this" and on it goes. Is that what happened here? Again, 1001 albums is a big number, and I certainly didn't do the work to make my own list. So, sometimes an album comes up and all you can do is wonder about how to reach the magic number of 1001 and then you shrug and move on.

This is not an album for me. The delivery gets old quickly, same with the message. And it's not because I am old, lame, and easily offended as even as a young, probably still lame, but not easily offended person I was not into this.

All these MCs creating a vision, a mythology, and an incredible album.

Starts off strong and fun but falls flat towards the end.

Feels like sped up mod music. Better than I remembered.

I had a short Jane's Addiction fandom somewhere in my 20's . I had this album and their debit and thought Yeah, I like Jane's Addiction. Well, I must have listened to the debut more than this one because the back half here seems all brand new to me. Or at least not very familiar. Or maybe they just aren't that good?

The Cure's Seventeen Seconds, sees the band solidifying the "Cure" sound. Definitely sounds darker than their debut. With classic hit "A Forest" being the stand out track that really hits it all. Meanwhile, the other great track "Play For Today," while hitting closer to that dark sound, still maintains the punk energy of their debut. It ends with a one-two punch of goth with "At Night" with it's creeping dread, and the title song "Seventeen Seconds" which sounds like a dying man's lament. Still, with two songs that are basically more musical ideas than full-fledged songs, and and short running time I've always felt this album was a bit slight. For me, as a Cure fan, I long for more, but I understand "Seventeen Seconds" as a turning point in the defining the band and it's sound.

Surprisingly pleasant (for me, as Folk is not my go to) And despite being 50+ years old there is a timelessness about it. It doesn't offer much in terms of variety to my ear, but it is short enough to not present a problem.

No notes. Violator totally rules!

This was ana amazing listen. So good. I've never really listened to Public Enemy before and now I wish I had.

Better than the last Elliott Smith album on this list. I find that is pleasant enough in that early 00's indie way.

First of all let me just say that "Rock Lobster" is one of my all time favorite songs. It's freaking brilliant. The rest of The B-52's eponymous debut is also brilliant. This album is kitsch, niche, queer, fun, sci-fi, throwback, modern, new-wave, and so much more.

I don't want to sound like an American Idiot here, because I understand that this album IS a rock opera, but it definitely sounds like "Broadway-Style" pop-punk.

The bluesy bits were surprising to me, not so much the folky bits. Better than what I expected, but ultimately a bit to laidback for my liking.

I feel like I am in a rom-com, or having cocktails at a wedding reception. It's good but it's a lot to take in.

This here is my go to Metallica album. Title track does the heavy-lifting here as it is flawless. The back half get gnarly and I am always down for a cool instrumental. (Orion)

I've been a fan of Radiohead since their beginning. Like most disaffected 90's teens I loved "Creep." And though the band has moved way beyond their debut, I can still find some great pleasure there. Most especially on "Stop Whispering" With their sophomore album they really stepped it up and it was one of my favorites of the mid 90's. Then OK Computer came out and the reached Musical Genius status. I listened to that album all the time. Ask me at the end of the 20th Century what my favorite album was and I would say it was that album of alienation, isolation, and dehumanization. With the 1, 2 punch of Kid A and Amnesiac and suddenly the new Century brought me a new favorite artist that could do no wrong. But something strange happened with me. I saw Radiohead in concert and it was as if by doing that I had reached a limit with them. Seemingly overnight I was over them. Hail to the Thief came out and the lead single didn't do much for me so I didn't even bother with the album. I rarely listened to those old albums that had meant so much to me. My fandom had run it's course. However in 2007 they released this album In Rainbows as Pay What You Want on the Internet. I had a new toy in an iPod and was looking to fill it up with anything I could so I paid what I wanted (probably nothing) and gave it a shot. And it seemed like a return for me. This is good. No, this is great. I liked it so much I eventually Paid for it on CD. And while my fandom has never quite returned to it's heyday I credit this album for bringing it back somewhat. I can't say whether or not In Rainbows is the last great Radiohead album as I really have never engaged with anything since. I can say it was the last great Radiohead album for me.

Every now and then the Muppet-sounding vocalist kicks in and I can't help but laugh.

Yawn

Awesome

As an 80's kid my first experiences with Genesis and/or Peter Gabriel were with their mainstream hits. So Prog Genesis led by arty weirdo Gabriel is always something difficult to wrap my head around.

Yikes. As bad as I thought it was going to be. OK, I can admit "Detroit Rock City" is solid (minus the drawn out intro found on my listen) But the rest of it is slop.

Now this was a lot fun. Surf, psychobilly, punk, whatever it is, I like it.

What if German robots made music and were highly influential?

Lounge act Elvis! "Suspicious Minds" was good, but even though Elvis made it big, I prefer other versions of it.

Really good, but gets repetitive around the halfway mark.

A bit all over the place but mostly in a funky vein. Song #2 reminds me of the old Richard Pryor/Chevy Chase SNL Sketch. No subtext there, and none needed.

This album was so lauded upon release that I fell for the hype and bought it without hearing a single note of it. Almost immediate regret as I listened to opener "I am Trying to Break Your Heart" Was this meta-commentary about breaking my heart by spending money on such a lethargic boring record? And I tried with this record I really did. Second song is okay right? "Heavy Metal Drummer" is slightly amusing right? I shouldn't regret this purchase right? Even listening to this today decades later I remember these songs. So I know I didn't just spin it once and move on. I tried again with the secret hope that with age and wisdom I could appreciate it. Or find something anything to cling to. But I can't. I just can't. This album bores me. And because it's hype I feel extra mad at it for being so boring.

A lot of fun in some parts. A lot of filler in other parts.

What a blast! The debut of the only band that matters. They came out swinging.

How did Suede never hit me like it hit me this time? This is a very enjoyable album. Britpop done right.

I've heard better Ryan Adams, and I've also heard much worse Ryan Adams. This is mostly boring though.

Some angry Springsteen. The usual mumbly-mouthed Springsteen. A bit of the mealy-mouthed Springsteen.

Bad? Yes. Bad? No. I wonder if Jackson was secretly upset that "Shamone" never caught on in a serious way in the Lexicon. All the "Hees" and "Haas" grate on me almost as much as the dated sounds.

Very atmospheric. Very noir. Very good.

"Girl, let me lay down some tracks to let the world know how shitty things have become between us. Also Star Wars was hot last year so let me do some sci-fi action on here as well."

Despite my initial disappointment that her song "Velvet Elvis" was not a Cover of the Weird Al song, I found this album highly enjoyable.

I liked the more upbeat tunes that are frontloaded on this album. Mostly pleasant.

I have an odd nostalgia for "Big Sur" and "One Horse Town." When this album was new I was working at a Retail Pharmacy that played, I guess you would call it soft rock music. Most of it was bad, but some of it was fine. And these two songs were part of the fine batch. The nostalgia comes less from the fact that I "liked" these songs, but more from the fact that I was much younger when I first heard them. They're still fine and offer up a small thrill (haha) for me. The rest of it is more of the same. Wistful, twee, faux sunny sounds. This would be decent beach, camping, or firepit music. Something unassuming and inoffensive, vaguely upbeat and mostly background.

So, I've listened to a lot of Sufjan Stevens, but only his Christmas Albums. (Which are great non-traditional/ and traditional Christmas music. Highly recommended) And I thought that I had given his non-Christmas music a shot and was turned off by it. I don't think I actually did that though. This album is very good. Maybe a bit long (especially those song titles, amiright?) But there is a lot of fun, beautiful, good songs on here.

Much better than her brother's output. Maybe it's less played out than Michael. Maybe it's that there isn't the baggage that MJ's music carries either. The album is really long, which could use some editing. Cut a few tracks get it done in 45 I say. And honestly a lot of it sounds the same. But, it also sounds like background music for the Streets of Rage video games and that's fine by me.

Psychedelic rock opera, eh?

This one is a bit of hodgepodge. We all know "Solsbury Hill" which is great but the rest of it is kind of forgettable. Gabriel went on to better things,

It's funny, because just recently I saw a Spotify playlist called "Marvin Gaye's clueless ass" with song titles asking questions including the first two here. ("What's Going On" and "What's Happening Brother") Old Soul, R&B, is not something that normally appeals to me, but this is good stuff. Very evocative of the times and yet timeless. It's easy-going but in a pleasant way.

Very good. It was country but without the twang. A slice of western Americana.

(sorry for the double-rating, but I have to clear my History)

Surprised that I found some interesting experimental music here. A bit silly, or tongue in cheek, or odd for odd's sake. Not enough to recommend, but enough to make think "That's interesting."

Apt name of the artist as this felt like the music that would play on the Weather Channel report on the 8s. This is the kind of music that plays in elevators and bathrooms. I plan on using it for the bathroom purpose during my next gathering.

Techno seems like such a catchall generic term for any type of electronic music with dancey elements. I know there are so many other terms to use such as Electronica, or as the wiki says Progressive House. I'm no expert so I'll just call it Techno. That's what we did in the 90's This sounds like rave music. This sounds like the background music for a seedy "alternative" club from a 90's movie. A club where the white guys have 'locs and everyone is adorned in leather. This sounds like a lot of other techno I've heard in my life. But I do not know if this was the a watershed album of techno, as ion the was the original influencer, or if this was just another techno album that sounded like the rest. For what it's worth I enjoyed giving it a spin. The back half was better than the first I'd say, and hey John Lydon! (or if you prefer, Ugh John Lydon!)

It's fine. Mariah is fine. Rappers like her because you can rhyme her name with "fire" or "higher."

Apparently I was in the right mood for this as I was actually enjoying it.

Wonderful album. AT times fun, at times beautiful,

Thank god for Marr, Joyce, and Rourke, so I can listen to The Smiths and not feel guilty because of the Morrissey of it all. Strangeways, hile not my favorite Smiths album is still excellent. The band were poised to move in a new direction soundwise from this album as shown on the opener, "Death of Disco Dancer," and "Paint a Vulgar Picture." There's also the return to their early rockabilly sound with "Death at One's Elbow." Some just classic britrock tunes with "I Started Something..." and "Stop Me..." an absolute beautiful closer in "I Won't Share You." and a quintessential sad sack mopey song in "Last Night..." Which admittedly can border on parody of mopey songs, but is truly brilliant. Sch a great album.

A great early progenitor of synthpop. Disaffected vocals, sci-fi vibes, robotic precision. I like it a lot but I wish there was just a bit more to differentiate the tracks.

A difficult journey into experimentation with sound. Industrial music stripped down to just noise. Like a soundtrack to a headache factory.

Funky and soulful, but not much more than background music for me.

I don't think The Happy Mondays should be represented twice on this list. But, this album was better than their first.

Starts off strong and fun but falls flat towards the end.

I can't explain it, but I find The Cult to be both very distinct and very generic sounding. The "Born to be Wild" cover cements that.

Standard classic prog rock without any popular singles to latch onto.

This here is my go to Metallica album. Title track does the heavy-lifting here as it is flawless. The back half gets gnarly and I am always down for a cool instrumental. (Orion)

Great album. Great debut. The original punk record! A bit repetitive but why switch the recipe when it tastes so good?

When people say 80's music their heads usually go to synthpop and new wave but often forget that the Rock sound found here was also ubiquitous. The hits are the hits and have been in the zeitgeist since their release. And no, I am not going to deny that "Photograph" is a fun song. The non-Singles all have that same generic 80's Rock sound, which turns out should just be called the "Mutt" Lange sound. A lot of it sounded like AC/DC to me. Mostly I can do without that slick 80s rock production. I wasn't much a fan back then and not much has changed in the ensuing years. I did find that "Stagefright" wasn't too bad though. I'm not going to ever come back to Def Leppard but I can understand the appeal.

I'd like to strip this album of about 5 songs. That way it wouldn't feel like such a slog. Not much here outside of late 90's pop.

Did this album come out before or after Oasis? I ask because it sounds a lot like Oasis. If it was first, then maybe I could call it influential. If it wasn't then it is a copy. It's fine. It has a youthful energy that I like.

Nothing Compare 2 U is beautiful and the rest of it is pretty good too.

This was cacophonous. Freeform Jazz? It sounded like no one was playing the same song.

Oops. It's Kanye. Put that aside and the rest of this is spectacular.

Queer discos are fun.

I am probably going to be a little more harsh on this one than I normally would, only because I was given another The Verve album less than a week ago. I really don't think The Verve should have two albums on this arbitrary list of 1001 albums that I should listen to before I die. Maybe they were more influential in the UK. As an American, they are a one-hit wonder. For good or ill that hit is here with "Bittersweet Symphony" a song that I have heard way too much and that I am not even a fan of. The rest of the album is a duller version of the standard Britpop of the era. t least the other Verve album had a youthful energy that I could respect. This one is just dull.

This is good stuff.

This won me over. I was never a big fan of the Adam & The Ants songs I knew (On this album, basically just "Antmusic") The chuggga-chugga guitars and almost tribal beats not doing much for me. A few of the songs repeat that formula to expected diminishing returns, but there are also bits of New Wave, and New Romantic sounds in there that enjoyed. And is the Pirate song a bit ridiculous? Absolutely, but did I find joy in it anyway? You bet I did.

Love it. Epitome of synthpop.

An interesting experimental record that I had no knowledge of prior to this listen. Full of early 80's experimental musical touches. A lot of scratching, sampling, and electronics. Of it's time but but so much so that it transports you to it.

Enjoyable background music.

I've had this album for a long time (since it's release) "Common People" and "Disco 2000) are top tier tracks and for the longest time they were the only ones I really listened to. Occasionally "Sorted Out..." I thought the rest of it was kind of weak back in the day, but listening to it now I really enjoy the full package.

I don't want to sound like an American Idiot here, because I understand that this album IS a rock opera, but it definitely sounds like "Broadway-Style" pop-punk. (I forget which song it was, maybe all of them, but I definitely could see Meatloaf singing it.)

What's this?! Rod Stewart is all over this thing. They should have given a Rod Stewart warning at the beginning.

This wasn't a bad album, but there was nothing special about it either. Of it's time meat and potatoes britpop. This could be someone's favorite album, and it could be someone's else's example of britpop's nadir.

From the reputation of this Live album I was expecting it not to sound like a tinny, cheap bootleg, and yet that is the impression that I get. Some good tunes, but it's hard to get past the sound quality.

Iconic cover. Fine album.

(Already rated, sorry for the double vote)

Solid 90's Alternative.

Hey, it's my favorite album from when I was 16. I don't carry the angst that I did back then and subsequently have moved on from identifying with the nihilism and despair on display here. It has ben a very long time since I gave this a spin, but the album still lives within me deep down. The themes don't resonate for me, but the album has power and style that can't be denied.

For when you're feeling a little twee. Wonderful indie debut. It makes me smile.

(Double Post and Vote apologies) Bob Dylan sings Springsteen Heartland music with a hint of Joshua Tree era U2 thrown into the mix. Did I say Don Henley? He's in there too. A pastiche of sounds that make for easy-late night listening, or meandering the American landscapes. This shouldn't work for me, and sometimes it doesn't. But sometimes I need the comforts it brings.

I admit, the singles are catchy and I can enjoy them. The rest is standard "rock" music of it's time.

What if some neo-hippies made dance music? "Groove is in the Heart" is a certified classic that still sticks with me years later. The rest of it is dated dance sounds that are fun but forgettable.

Let's just get this out of the way. Countless use in commercials, television, weddings, Oldies stations, the world has stolen every bit of power that the title track had. I am more than past that song. So move away from that and you have here a solid album of disco. It's fun and enjoyable.

Ah, the promise of 90's Electronica. It never hit as predicted but it was fun while it lasted. This kind of aggressive almost dangerous techno infused with big hip-hop beats, rock, and more is a solid album.

A lot of different sounds here than what I was expecting. Surprising in some ways.

What a debut! (Decided to change my initial rating of 4 to 5 because this labum is that good, and the one or two skippable tracks are semi-decent actually and don't detract from the rest.)

Mostly boring but the last three songs kind of kick it up a notch.

Starts fine and exciting, but quickly gets boring, with very dated disco beats. I'm sure it was hot at the time but it sounds stale by now. Obviously this is the precursor to Thriller where the Q sound would dominate and hit hard.

I was surprised how much I liked this. Very pleasant despite it's 70's folk easy-listening style.

I used to like Outtasite(Outta Mind) but now not so much. The rest of it I liked even less.

Some fun stuff her. The opener I've heard before, and I can't help but feel it should have been used for a sitcom opening song. Maybe it was. "Second Hand Woman" had some enjoyable synthetic funk. The whole thing is chock full of dated sounds which can be extremely cheesey. I found it was working for me today.

Playing is hard and loud, but the songcraft is very lacking. Interesting for being proto-metal or early metal, or even an originator of metal, but beyond that the interest is not there.

I like the music. I find the vocals to be annoying and a whole album of it gets me. And if I never have to hear "Self Esteem" and "Come Out and Play" again I will be happy. I lived through their overplayed years and I am frankly sick of it. Surprisingly "Gotta Get Away" (another hit but less overplayed than the others) reminded me of early Joy Division.

Sexy times with Earth, Wind & Fire. I like the funkiness and flute on "Africano." The rest doesn't do much for me.

Should I go form a band now? Surprising me, I liked this. Definite influence on a lot of genres. Twee, Shoegaze, punk, and more.

What do you say about Thriller? Biggest album sales of all time? Nearly every song could be a hit? "The Girl is Mine" is the low point? (It is but oddly the one that is still stuck in my brain a day later) I'm not a big fan of Jackson and his music, but even I can admit that there is something special on this one. Sure, I can do without "Billie Jean" ever again. And I think it's odd that Jackson did a serious "parody" of Weird Al's "Eat It" with "Beat It"* But I really think "PYT" is an absolute blast and probably Jackson's greatest musical contribution. (disregarding all the ick factor of Jackson singing about a "Young Thing") *see Weird: The Al Yankovic Story

Bob Dylan sings Springsteen Heartland music with a hint of Joshua Tree era U2 thrown into the mix. Did I say Don Henley? He's in there too. A pastiche of sounds that make for easy-late night listening, or meandering the American landscapes. This shouldn't work for me, and sometimes it doesn't. But sometimes I need the comforts it brings.

If you can get past Mark E Smith's vocal stylings (Which I admit can be a struggle that I also go through) you can find some fun art/post-punk here.

I think Pablo Picasso WAS called an asshole.

REM stepped out of the college dorms for this one and it worked. Scoring them a timeless album that still rocks to this day. One of my favorites from this band.

This still hits hard.

Coldplay's second album. Maybe better than the first? I don't know. It certainly doesn't connect with me as much as their first album. It's good Britpop. Sure "In My Place" gives off serious U2 vibes, but every now and then I like a sad boy on sad piano singing a sad song, hello "Scientist" And I don't think you can beat the driving energy of "Clocks" That about covers the singles, and there are a few other good tracks here. Some duds that tend to drag the album too. Look no one wins cool points for liking Coldplay, but I think they make some quality music here.

Prog. Folk. Classic rock. They don't make them like this anymore. The band knows how to play. There can be a lot going on at times.

(double vote)

Interesting album. Sometimes brilliant, sometimes terrible.

I don't normally go in for classic rock, but I think Sticky Fingers earns it's place.

Good stuff.

Sail Away from me Randy Newman. Your mealy-mouthed character studies do nothing for me. Tinkle forth on your piano to someone that will enjoy it more than me.. Oh hey, it's the song from Major League. That one is okay.

Varies between kind of good to kind of unbearable. Reminds me of the Violent Femmes if the Violent Femmes were much less talented. Cut the unbearable tracks off and this would be a solid album for me.

Very raw southern-fried rock.

As the Beastie Boys once said: "Oh my God, that's some funky sh..."

The hype is real

It's America's Favorite Uncle but back in the day. The G-Funk/Gangsta sound from Dre and Snoop is what makes this album pop like crazy. Dogg's smoothness and flow are solid at his young age on this. And speaking of young, hoo-boy, I was young once too and these lyrics are definitely juvenile. Have I said all that and worse at that age? Yeah probably so who am I to be a prude about it? But the lyrics are definitely problematic to say the least.

It's a fine album. Standard contemporary jazz. Good for sipping coffee at the cafe, by the fire. Pretty but not for me.

I am not overly familiar with Slipknot beyond a few songs and knowledge of their image. It sounds to me like this is a push to be a more mainstream Hard Rock sound. Or what I often think of as "buttrock" Just generic heavy riffs, non-aggressive agrressive vocals, you know similar sounds to just about anything playing right now and your city's only true Rock n Roll station. Nothing noteworthy for me.

Did this album come out before or after Oasis? I ask because it sounds a lot like Oasis. If it was first, then maybe I could call it influential. If it wasn't then it is a copy. It's fine. It has a youthful energy that I like.

Of it's time laid back beats. "Keep on Movin'" and "Back to Life" bring me back, but there is not much more than memory hits to keep this interesting.

Foo Fighters debut is a solid bit of 90's Alternative. Very reminiscent of Bob Mould's Sugar.

Love this psychobilly. What fun.

I guess I missed the lyric "I get an EMHO woody when I sit in the seat." at age 11. I did no what rubbers were. It's Aerosmith at the too of their post-Sober Comeback game. But pre-Armageddon schlock. It's fun , it rocks.

I was excited through the first half as I was enjoying just about every song. Is this going to be the Pixies album that I finally enjoy almost completely? Then the second half hits and the fun stops. Ah yes, classic Pixies. Real great songs and real dreck. That first half puts it up there as my favorite Pixies album on this list. Of the three albums listed you could probably get one really great album from this band. So it goes.

Being of Gen X and reared on MTV, the hits on this one are ingrained in my brain. I like that it starts off with a synth instrumental on the self-titled track. It makes you wonder if this is going to lead into some prog rock territory. The synths continue on "Jump" and those synth power chords are awesome. It's funny how from a band named for the guitarist, the guitars don't kick in until a minute or so into the second track. But, when they do kick in, Eddie's licks, riffs, and solos let you know that he was a virtuoso. Is it just speed and hammer-ons? I don't know and I don't care. It works here and it was what was needed in the 80's. Same with David Lee Roth's vocals. They fit here. I feel like I did a disservice to this album by not blasting it from a corvette or camaro, but I liked it nonetheless.

While not my favorite New Order album, I still love every it of it. However, I wish that they used the full version of "Perfect Kiss" The edit is always jarring to me. And an extended "Elegia" would be great too. Plus, "Bizarre Love Triangle" is on of my all time favorite songs, but I prefer a different mix. My qualms aside, this album is still brilliant!

My Nirvana preference.

Maybe the best Steely Dan so far, but that is a very low bar to clear for me. The music just bores, but at least this time it idn't make me angry. Small victories.

When this album came out I was over Radiohead. I had seen them in concert and it seemed like a had my fill. The lead single "There There" was nice, but not excellent. So I skipped it. So unlike their previous five albums, I am not very familiar with this one. Listening today when my appreciation for Radiohead is what it is, I am not impressed with this album. It just kind of drags on. I think I was okay to bail when I did.

Double album. Double boredom. I assume a lot of the money spent on this album went to booze and coke.

My conversion van era. Where did one go in the 70's to get a fantasy scene airbrushed on your vehicle? Did you have to find 'airbrusher' in the yellow pages? Was it the hobby one took up when your day job is 'marijuana dealer?' Solid Hard Rock/Heavy Metal. A bit to much screeching for my liking, but the music gets the blood flowing.

Too arty and weird for me, and I can get arty and weird.

So this is where Cool started. I like it.

I went in with trepidation as I've never liked the two hits I knew from this album ("Creep" and "Waterfalls") But the rest of the album really rode on those mid-90s R&B vibes and took me back. A bit long, and interludes are just part of 90s Hip-Hop and R&B that that don't interest me, but otherwise a fine listen.

Starts off strong but loses me in the back end. I enjoyed it though. A cross between old Country Western and standards.

Wonderful album. At times fun, at times beautiful.

I am not sure what I expected. But I liked what I got.

Really dumb rock n roll, but a lot of fun.

Riding high on "I Can See For Miles" (which gets pretty repetitive) and not much else. The folk of "Silas Stingy" was fun, but the rest of it was poor at best.

Fun 80's Summer music.

"Cliff, Everyone's seen fire and rain" "Oh. Well, then, i guess I got nothing to say."

I liked their versions of some of the songs I already know. Are they Isley Brothers originals that were covered by others, or other songs covered by the Isleys?

When I was young I had an acquaintance that said he really liked Nas. Over the years I knew of Nas being a well-respected rap atist. But I found it odd that he never had the crossover appeal that his contemporaries had. (Snoop Dogg, Dre) And that just might be my alternative white kid bias speaking. This was good and Nas should have reached my ears sooner.

I swear I listened to this, but now it's gone.

Musically, this is vibrant and full of energy. It really gets your motor revving. The singer's vibrato can be grating and sound like a goat, which dampers my enjoyment.

That was a lot of fun. Great early punk.

The idea of Fugazi is something I can get behind. Independent punk ethos, fans first attitude (cheap shows), general solid-dude energy. As a teen I heard all of this, and I knew of Ian MacKaye from Minor Threat (A band I enjoyed) So I went out and but Repeater by Fugazi. I was instantly disappointed. The music did nothing for me. The punk energy was drained for post-hardcore dirge. A dirge that highlighted the poor yell-singing that was all over it. I just couldn't get into it. It wasn't for me, and as much as I respect the Fugazi ethos, I never became a fan. So it goes. A few years later, after another failed attempt to get into Fugazi I posted on Social Media that Fugai sucked. A friend of mine then decided to argue with me that because they were punk (they're not really) of course they sucked, because sucking was the point of punk. (his words not mine) I tried to say something along the lines of: a) they aren't punk. b) punk is not just playing instruments bad. c) it's not that I thought Fugazi didn't know how to play or were actively being "bad" for whatever reason. But my man just kept pushing this point of them being punk and therefore are inherently bad. It just really drove me bonkers. He was patronizing me by giving his ill-defined meaning of punk. He was missing my point. And being an ass about the whole thing. All that to say that after giving it another listen today I can say, I still don't like Fugazi music. But they are fine at what they do. It's just not for me.

When it was released this was an all time favorite album for me. I still love parts of it, but Radiohead doesn't hold my favor anymore.

Good album. A shame about the Nazism.

Teenage Riot starts this album off and it is a masterpiece. One of the greatest alternative songs ever. This song itself deserves to be heard and celebrated. The rest of it makes you want to listen to the opener again

Billy Joel is a great storyteller in musician form. Randy Newman croaked so Joel could sing. These songs take me back.

This is good stuff. These songs, though very of their time, can still hit hard. I like how it straddles the line of many different genres (Funk, rock, metal, etc.)

Old fashioned Country & Western. Fine enough.

Love that garage rock/psychdelic sound. I'd say first song "Stephanie Knows Who" could be classified as proto-punk. A rollicking sound.

"How Can I be Sure" has been lodged in head since giving this a listen . It really is something else. A mix of a lot of the styles of the 60's, Pop, rock, chamber music, blue-eyed soul. It becomes something greater than the sum of it's parts. A true classic. Then the next song is "Groovin'" which is such a standard that I am not sure when the last time I heard the original version of it was. But you can guarantee I've heard it played by countless Sounds of the 60's covers bands at countless local festivals and fairs. It's an oldie for sure. The rest of it pretty standard 60's rock n roll.

I always (fairly? Unfairly?) thought of Muse as "What if Radiohead continued their rock trajectory from 'Pablo Honey' instead of going paranoid?" The vocal similarities are there so it's not far of a stretch. This album definitely has it's moments, and "Knights of Cydonia" is still epic.

Glam rock at it's finest?

Is it wrong of me to want all The Jam songs to sound like "Town Called Malice?" That song is not on this album, but it is the one song by The Jam that I think is impeccable. I've given The Jam many chances over the years and they are fine, but if they had more like "Town Called Malice" I would think they were excellent. "Malice" is not on Sound Affects, so this album is just fine I guess. My fault for wanting The Jam be something they are not.

Prince does it again. I know the hits but their album versions are a revelation. This was tons of fun to listen to.

Easy baby!

Young Pop Beatles while fun, can all blend together. Sure there are Harmonies, but I am not convinced of the singing ability of any of the Four. Maybe I am just used to the modern sheen of contemporary singing which smooths out any and all rough edges to a shiny perfection. And yes, recording is different 60 years later, but these songs all sound like first takes, or were recorded live. It's The Beatles though so any and all criticisms come from having experienced this all of my life, and experienced their widespread influence on all music.

This album is very middle of the road. Aside from one or two songs I don't think it is all that interesting or memorable. A bit of an odd duck here where I don't get the reason for it's inclusion.

What a sonic punch to the ears! This was fun, rollicking, and glorious. I love it!

Sorry, but no album with the guys from Good Charlotte needs to be listened to.

Brilliant. Every one of these tracks should be played on the radio during the Season. All these artists and the producer (big separate the art from the artist energy needed on this one. Skip the final track I say) working at their peak.

Would we call "Blue-Eyed Soul" cultural appropriation in the 21st Century? Maybe. The covers that I know elsewhere give me a modern cringe, but the rest of it is really good. Dusty has an amazing voice.

More of an experiment than an album. I thought it was interesting

Another band that I had a small phase with. I was 15 and thought maybe I will become a metalhead, so I got two Pantera albums on cassette. This being one of them. The metalhead phase didn't stick and I think I liked the other album better. "Walk" is a fine track but the rest of it sounds too similar for me. Except the final track which sounds like classic Metallica.

Better than their debut. More energy. Though I think "Take me to the River" is a bit boring. It was the only song a knew from this album, so I am glad that it's sound is not what the rest of the album sounded like.

The Smashing Pumpkins are one of the few 90's Alternative bands I can still listen to 30+ years later and not feel slight embarrassment. As if the music they made in their early years was less of a trend and more of an encapsulation of a band's influences. Siamese Dream also showcases more sound and beauty then most of the contemporaneous Alternative albums. It can still take me on a musical journey.

I had a short Jane's Addiction fandom somewhere in my 20's . I had this album and their debit and thought Yeah, I like Jane's Addiction. Well, I must have listened to the debut more than this one because the back half here seems all brand new to me. Or at least not very familiar. Or maybe they just aren't that good?

All these MCs creating a vision, a mythology, and an incredible album.

When this album came out I had a friend who was very excited about it. He came down into the basement exclaiming "The new Outkast single is amazing. It reminds me of The Beatles!" I filed that away as an interesting thought since I only knew Outkast as a Hip-Hop group. Cut to a few days later when I catch the new Outkast single on MTV. And I am very confused, because it is a Hip-Hop song. I know The Beatles are a huge influence on pop music but this seems like a big stretch. What is my friend thinking. Cut to a few days after that and I catch a different Outkast single . This one is called "Hey Ya" where the other one I heard was "I Like the Way You Move" and now it clicks. Then I mentally apologize to my friend who I thought was crazy. Eventually the world caught up to my friend and "Hey Ya" became gigantic. Have I heard it too many times? Probably. But I can't deny that it was overplayed because it was so catchy and good. Besides it, the aforementioned "Way You Move" and the poo poo song I was not familiar with this album. It's too long , but I say that about most double albums. But the good stuff here is really good.

It seems that when female recording artists share the same producer, their music sounds interchangeable to me. I'm not immune to a well-tuned pop song, but I'm also not impressed either.

I like one Linkin Park song and it is not on this album.

There are some albums that are purposely terrible, or difficult. Think Lou Reed's Metal Machine Music, Captain Beefheart, Frank Zappa, the No Wave movement, etc. Their purpose to challenge the listener. They may be hard to listen to, almost impossible, but they make a statement . "I can see what they are doing. This might be art." This album however seems earnestly terrible. The off-key warbling, the plinking chamber-folk. It's very difficult to listen to. Maybe it is art and I just don't get it.