1001 Albums Summary

Are these albums really randomly generated? Because the first track on this album seems like the perfect starting track for a daily album challenge... "Monday, Monday." Always have love "California Dreamin'" and have heard other various Mamas and Papas songs over the years, but this was a first time I sat down and specifically listened to them in one big chunk and my reaction is kind of "meh." The end of the album snuck up on me and all of a sudden Spotify was playing "For What It's Worth" by Buffalo Springfield. I guess it just because background noise. All of the songs just started to sound the same.

First track feels very lo-fi. Due to my lack of knowledge of this era I always mix up Janis Joplin and Joan Baez. And sometimes Stevie Nicks even though it doesn't make any sense. I felt myself grooving more to this album than the Mamas and the Papas (my previous album). Felt powerful at times... especially as opposed to the Mamas and Papas. Maybe that the difference between rock and pop? Me and Bobby Mcgee was the most familiar track thanks to Rock Band and LPS. Also Mercedes Benz. Other stand-outs: Cry Baby, A Woman Left Lonely, Buried Alive in the Blues (super groovy instrumental)

Stand out tracks: "Four Women" (powerful with great vibe), "Lilac Wine," "If I Should Lose You," and "Either Way I Lose." I haven't listened to a lot of Nina Simone before, but enough that I shouldn't have been surprised by how amazing her voice was. I was still blown away. The instrumentations were so interesting and had a lot more variety than I expected in terms of style. I particularly enjoyed the use of male voices as a sort of bass line in "Either Way I Lose"

Yeah... not my cup of tea. Not much of a gunfighter or in need of a trail song. This seems to be the kind of music that rock and roll rose up as a counterpoint to. The only situation I could see liking this music would be in Frontierland at Disneyland.

Excited to listen to some Queen, but I am entirely unfamiliar with this album. Didn't know a single track on it and it turned out to be a bit to concept-y for me. Weird juxtaposition between the country rock sounding song "The Loser in the End" and "Ogre Battle." "The Fairy Feller's Master-Stroke......." Really??? And ends with a sort of sea shanty? Feels like Queen trying to figure out who they are.

My first true classic. This is probably in the top 50 albums one should listen to. Even so, I was not familiar with a number of the tracks and it was fun to hear them in the curated order they were intended among those I know very well. "Changes" and "Life on Mars?" are the types of tracks that are played all the time but don't get old. Particularly enjoyed "Fill Your Heart," "Andy Warhol," "Queen Bitch" (found myself bopping to this one), and "The Bewlay Brothers" was a excellent end track. Really felt like a conclusion.

Not a huge Neil Young fan, but I do generally enjoy his songs when I hear them. I found this album surprisingly enjoyable. "Powderfinger" was a stand out for me--couldn't help but bop to it. The lyrics got to be a little much at times. A little too "clever." Is that Neil Young's thing? "Sedan Delivery..." s it meant to be sort of psychedelic?

This is the first album I am intimately familiar with. I didn't love it when it first came out, but have come to appreciate more over time. I really loved his previous album "Midnight Vultures" and practically wore that CD out I listened to it so much. This album was so much of a departure I was disappointed at the time. Perhaps "Sea Change" wasn't just a clever name. In retrospect the whole album feels like an interlude between "Midnight Vultures" and "Guero." "End of the Day" was my favorite track back then and was the one I enjoyed the most during this listen as well.

There are a few Talking Heads songs I will enjoy listening to, but those are mostly from a little bit later in the 80s. And part of the enjoyment comes from the sort of quirkiness that this album lacks. It just feels like they weren't quite there yet with their sound. I didn't hate it but it--it was just kind of "meh." Not surprisingly, the song I dug the most was the one with the most listens on Spotify and also the only single from the album, a cover of Al Green's "Take Me to the River."

It was almost jarring to get such a current album and also nice to get something that is in a major musical blind spot for me. Awesome production and a really great voice. With the dialogue interludes it reminds me of a modern day version of The Chronic. "Put it Down" was a highlight and the Anderson.paak track "Price Tags."

The instrumental opening of the first song had some promise, but his voice really ruined it for me. Not just the quality of it, but it seemed badly mixed or something. Badly EQ'd. Sounded too present. Just looking him up on wikipedia apparently he was know for this lo-fi sound... recording tape albums on a four track recorder. The songs bled into each other so much I didn't even realize it was over until I checked how much longer I had to endure this album and realized it was already over. The songs were self-indulgent too--way too long and just annoying. "Eid Ma Clack Shaw" may be one of the more annoying songs I've heard recently. This was supposed to go with the Steely Dan "Pretzel Logic" album: Eek. I had to look up what sub-genre Steely Dan was to confirm what kind of rock I really don't like. And the answer is jazz rock. The song "East St. Louis Toodle-Oo" was an instrumental that was somehow worse than the title would have you expect. Just looked up that that is a Duke Ellington track... doesn't make it less annoying to have to listen to on this album. "Through With Buzz" was the only song I found myself semi-grooving to.

The first few opening notes had me worried, but this is actually the kind of jazz I like. Reminds me of a CD I bought because it was playing in a record store in SF and I played it all the time: The Bob Brookmeyer Small Band, which I think was essentially the same line up except it had trombone. There was something pleasant about a trio of only piano, drums, and bass, although maybe could have used a horn at times--it got a bit monotonous and faded into the background at times. Still, it wasn't bad.

I can't tell if this kind of music is aware of its silliness or if disco took itself seriously back then. Because music can be repetitive and the lyrics can be strangely basic. "At Last I am Free" might be the most monotonous song I've ever heard. 7 minutes of the same line being sung over and over in slightly different ways. "(Funny) Bone" was also bizarrely monotonous with the same repeating few measures over and over with little variation.

Always get excited for bands I am familiar with and legitimately like, but this is not the album I would choose for Velvet Underground. Which I thought might be a good thing! And the start was strong with the title track, but the 8 plus minute spoken word annoyance that followed put a real damper on the enjoyment. "Lady Godiva's Operation" was a little too out there for my liking as well, but the rest of the tracks (all 3 of them) were more enjoyable in that garage band Velvet Underground style. Well... the last track was 17 minutes long with basically 10 minutes of noise to end it and the line "She's busy sucking on his ding dong."

The moment this popped up as my album I dreaded listening to it. And while I didn't care for the music itself so much, I was fascinated by how good it sounded for a live recording of the time. When I looked up this album evidently a big part of the positive reception the album received when it was released was the audio quality, with people surprised by the simplicity of the microphone setup. Also what was interesting was where it was recorded--Hamburg, the city where the Beatles essentially got their start--because evidently when Lewis's career went south due to his marriage controversy his people thought a comeback was imminent with a particular song only to be usurped on the radio by the recently invading Beatles.

I don't know... this just isn't my cup of tea. Just from a production standpoint I feel like it's all too over produced. And I don't think I can separate what I know about what kind of person Kanye is from his music. Not sure he can be separated though because who he is really comes through in his lyrics. Sexist, megalomaniac. I enjoyed "Runaway" because I once used it in a Bud Light spot and the Bon Iver track was ok.

What did I just listen to? The songs were all long but they seemed even longer than they actually were. Weird homophobic lyrics in "Stagger Lee" were offensive and the song devolved into something real annoying. This must have been Nick Cave's Leonard Cohen era. Between his voice and the style of the songs it might as well be Cohen but way more annoying. Did I mention annoying? Wow, that 14+ minute "O'Malley's Bar" was a slog. The one song that was worth the list was "Where the Wilde Roses Grow" not surprisingly the most popular song on the album based on Spotify listens.

I really vibe with this era of Hip Hop music and this album flew by. I knew a few of the tracks, especially "Oh Shit" which I have on a playlist I play a lot.

For whatever reason I listened to a lot of grunge in the 90s, but I'm not sure I ever owned a Soundgarden album. Was there a Soundgarden/Nirvana rivalry? Because if so, I was definitely on team Nirvana. But I have come to appreciate them over time and really enjoyed listening to this album. I mean, it does have one of the top 5 seminal songs of the 90s on it. And I don't mean "Spoonman."

This sort of reminds me of disco in that, are they serious? When they sing about hell and satan and songs like "Raise the Dead" is it meant to be a bit tongue in cheek? Or does it just seem that way because it's so dated sounding. The last track is the perfect example of this. It's a spoken word track about satan: "At War with Satan." It all sounds very dramatic and when I take a look at a picture of the band I get the sense they probably are serious. Cause they kind of look like ren fair people who would get real into the acting part of it. There is some metal I like and will listen to, but this isn't it. Maybe this is too proto-metal and not quite refined enough in style and substance.

This album just sort of washed over me unnoticed. Seemed like pretty generic 90s music that just didn't stand out in any way. Eventually a song came on and I thought to myself "now we're getting somewhere" but it turned out the album was done and it was a Pulp song that was playing.

I really loved it. Surprisingly so. Reminded me a lot of Animal Collective, so probably ahead of their times. Highlights for me: "Don't Stop," "Elizabeth My Dear" (such a Simon and Garfunkel sounding thing), "Made of Stone" surf rock-y, Pulp Fiction-y, "Shoot You Down" had an awesome vibe, and "I am the Resurrection."

What an unusual album... all instrumentals with the first track "Green Onions" being well known and used to this day in commercials and movies--almost timeless in a way. And the rest of the tracks are reaaaallll dated sounded. It's the keyboard sound that dates it the most. It makes it feel like a joke song. They feel like songs I would use in a spot that something silly is happening in. Like the spots I did a long time about about a guy whose roommate is the Earth and he is being a douche to the Earth.

I've heard this album a million times and I still enjoyed listening to it. Not much more to say than that.

I could see why, as their Spotify bio says, "they only achieved the huge success of The Beatles, The Rolling Stones, and The Beach Boys for a brief period in the mid-1960s." They had a good sound and I enjoyed the album. What the fuck was going on with the end of the song "C.T.A. - 102?" It wasn't too hard to figure out which of the songs was written by Bob Dylan. Not only was it the best one but it was easy to imagine him singing it.

I was beginning wonder if I wasn't going to get any of an artist's most noteworthy albums or if it was all going to be the more obscure ones. Because that was the case with the first few big name artists I got, including Queen, David Bowie, and Beck. But within 4 days I got Van Halen "1984" and this one. I'm sorry to say, but much like back when it came out, there are a few songs on this album that I really love and the rest I could take or leave. The track I dug the most that I wasn't previously familiar wot was "Through the Never."

This album was a lot more theatrical than I expected. Almost like songs from a Sondheim musical. There is a very specific mood for this album... not exactly sure what it would be but I wasn't in it.

It's amazing how some artists just resonate with people and have staying power. Bob Marley has an insane number of monthly listeners on Spotify... 23+ million. I was familiar with a lot of songs on this album, like I think most people would be. But the ones of the ones I wasn't, nothing really grabbed me. It was mostly a "meh" experience. Although to be fair, I was familiar with almost every track. Kind of amazing for an album I have never specifically listened to that almost all of the tracks were universally known tracks. Also... not sure what was up with the fidelity, but some of the tracks felt like karaoke versions. Like "Three Little Birds." The production didn't sound very sophisticated.

I'm not sure what I was expecting, but whatever it was this was worse. Really sounded like a joke album. The singer reminded me of the old man in the bar scene of Back to the Future Part 3/Disney Sheriff of Nottingham guy. It is mind-boggling to me that this band has 2 million more monthly listeners than Belle and Sebastian. When I turned some on Baked Tours Departing Daily the music got a little better, especially when he was walking around Main Street and Frontierland. It even had me bopping to "Black Mountain Rag." Didn't work as well in Galaxy's Edge. Had some strangely sharp turns to being super Jesus-y.

I am really only a fan of 90s Radiohead. And even that I am sort of sick of. This album went by with barely anything that stuck out to me.

Oh my god... Torture. How did anyone ever listen to this? It sounds like joke music. And it is extremely sad to me that 10X as many people listen to this than Belle and Sebastian.

I really knew a lot less about blur's music than I thought. Being mostly familiar with "Song 2" I wasn't expecting the 80s vibes of this album. I had heard the song "Girls & Boys" plenty of times but I would have sworn that was a Depeche Mode song or some band like that. It turned out to be an interesting combination of songs that sounded like that and some that felt like punk. I enjoyed it overall.

I knew a lot more of this album than I expected. And I really enjoyed it. I've never been a huge Wu Tang fan like a lot of people seem to be, but I don't think it's because I didn't like them. Just not that exposed I guess.

Non-disco Bee Gees is weird. Are they trying to be the Beatles (a bunch of songs sound like Ringo songs)? Or The Band? What's up with the song about Edison?

Loved it. Way more than I expected to. It was funny to hear a 40 year old BB King sound so youthful and spry compared to what I was used to, yet still referred to as the "Legendary BB King." The recording quality was exquisite. It sounded better than studio albums of that era somehow.

As I've heard numerous other "early" albums, I was expecting this to be very different from what I consider to be Tom Waits music. Like the early more folk-y Bee Gees album or more prog rock-y early Queen album. If anything it was sweeter and more melodious than later Waits missing some (but not all) of the grittiness. "Jersey Girl" was a surprise. Did not realize Bruce was doing a cover. Tom sounded quite a lot like Bruce too. "Til the Money Runs Out" was a standout for me. Loved the surf rock vibes.

It was fine. A bit more Tori Amos-y than I would have expected.

This is definitely the most unique album I've gotten so far. A one hour, 4 track modern solo piano concert it was not necessarily outside of my wheelhouse, but I did not connect with this music. Felt too "contemporary" in that sort of messy kind of way. It actually kind of hurt my head. Especially Part 3. Or rather part 2B. The 4 tracks were Part 1 and Parts 2a, 2b, and 2c. "2c" was the least offensive. Even pleasant at times. And not surprisingly by far the shorter piece at 6:56 and that includes over 90 seconds of applause at the end. A Duke Ellington song came on after and it was similar, but so much easier to listen to.

I do enjoy Eminem when he shows up on a Dr. Dre track and he is definitely talented, but I'm just not into the whole joking about kidnapping and abusing women or homophobic schtick. And it got more and more disturbing. The song "Kim" is going to give me nightmares.

Wasn't feeling it at first... it felt a little overly produced in the first half of the album, but I found the second have to be more enjoyable.

Is this country? Folk? Both? Whatever genre it is, I don't like it. Every song sounds the same and I don't find any of it very appealing. At one point I thought to myself, how did this get worse? And it turns out Dave Matthews showed up on one of the tracks.

Interesting listen. They were definitely trying something... had a political message similar to many other hip hip of that era, but presented in a very different way. The more disco-y/electronic sound sort of watered down the message in my opinion. Although not nearly the most listened to track on the album (on Spotify) "Renegades of Funk" was the only one I recognized. Elements from "Planet Rock" were stolen by Sal the Stockbroker in his rap.

This music really took me back to a specific time and place. And I have to say that while I would never put this album on by choice, it sounded good. A lot of stuff has sounded very dated, but this didn't somehow. Maybe because it was sort of retro sounding when it came out in the 90s it's given it a bit of a timeless feel.

Ray is remarkably talented, but this era of music just isn't my cup of tea. I did enjoy hearing this rendition of "You Don't Know Me" which made me thing of "Groundhog Day"--one of my all time favorite movies.

I am very familiar with the song "Chameleon" because of Joey. I enjoyed this album as a whole. I like this style of jazz it seems. Loved the keyboard part in "Sly."

While I don't see myself putting this album specifically on very much, it was a great listen and obvious why Beyonce is the queen. Powerful voice, powerful lyrics, and great, catchy beats. She deserves all of the accolades.

I love this album. And as much as I listened to it in high school, I haven't listened to it in a while (except when we saw them play the whole album live last year), so there were actually some pleasant surprises/re-discoveries.

There is clearly a lot of talent involved in the making of this album, from the song writing, lyrics, singing, musicianship, and production. It also has a powerful message. I just didn't fully connect with it. Enjoyed it, but I don't see myself listening to it again. The best comp I could think of was Arrested Development.

Yeah... not my thing. The one MIA song I know "Paper Planes" was not on this album and I didn't recognize any of the songs. It all felt too much. Like my ears were being assaulted. Take that back... I had heard the song "Galang" before because someone wanted to use it on a Honda spot I once cut but it was either a cover or a different mix of the song. Because this version was too aggressive for what the spot was. In doing some research... it does appear it was used on the spot but there were other mixes that we must have used.

What in gods name is this? Reminds me of fake music from a weird SNL skit or a Christopher Guest movie. The end of "Cool in the Pool" in particular. Learning more about him and his influence on electronic movie makes it more impressive, but still feels like a mockumentary.

Sure, Michael Jackson was talented, but knowing everything we know it is really hard to listen to his music.

Funny to get this album the day after I was conflicted about listening to Michael Jackson "Off the Wall." It was nice to be able to enjoy Prince's genius (which, let's face it, blows Michael Jackson out of the water) unencumbered by the baggage of the whole sexual assault of children. This album feels equally very much of its time and way ahead of its time in equal measure.

This was fine to listen to although I don't foresee ever needing to hear it again. Funny how sometimes an artist just hits on a song. "Son of a Preacher Man" is on such another level than the other songs it's easy to see why it has about 650million or more listens than any other song. The other highlight was "The Windmills of your Mind."

Before I started to wonder if the album has held up well. If it still sounded raw and new or out-dated. Within the first 10 seconds I had my answer--pleasantly surprised it still sounded awesome.

Maybe I'd appreciate this album another time but I don't think I was in the right head space for it. I found it to be a slog despite being on the short side (42 minutes).

I was not surprised to see Spacemen 3 listed among Panda Bear's influences because I can hear a lot of Animal Collective in their music. Regardless, I don't think I was in the right head space to fully enjoy this album (i.e. on drugs) as much as I could have.

This was an exciting one to get after a few clunkers and I enjoyed it ever more than I expected. A bit more folk-y than the Simon and Garfunkel albums I prefer, it was a great listen. The song where Paul is clearly doing an homage (or mocking?) Bob Dylan was among the more interesting on the album.

I guess I really enjoyed it because once the Spotify autoplay song came on after the album ended was jarring and disappointing. At only 34 minutes one of the shortest albums I've gotten so far and of course one of my favorites.

Sounded weirdly raw and tame at the same time. A pleasant surprise though. Looking up their history, they seemed to have influence a lot of good bands that I've listened to and love including B&S.

Yeah... well... I'm not much of a jam band kind of person. Especially the kind with a jazzy organ. That 23 minute jam to end the album is 23 minutes I will never get back.

Better than I expected! I thought I might have a similar reaction as I did to the Allman Brothers, but there were some stand out songs for me and "The Weight" was pretty brilliant--might have been the first time I really listened to it carefully. "Lonesome Suzie," "To Kingdom Come," and "I Shall Be Released" were some of the other ones.

She has an incredible voice and it was pleasant enough (albeit a bit repetitive) to listen to the mellow tunes. Glad I heard it but don't see myself ever putting this on again.

This falls into the category of a band that I listened to a lot in the 90s but haven't listened to once since and honestly, can't imagine ever being into it. I know people love Aerosmith, but it just feels so cliche.

I knew nothing about this band going in and was not expecting much only to be pleasantly surprised. Particularly by the instrumental tracks towards the end.

Started off feeling pretty dated... I don't know if I just got used to it or that it got better, but it jumped from a 2 to a 3 for me about half way through. Still sounded dated regardless.

So good! I used a TV on the Radio song on a spot I cut a while ago and really liked the track, but never listened to them after that much. Don't know why. This album was a bit different than that track, but looking at their Spotify bio (which is kind of humorously braggadocious) apparently they are known for constantly evolving their sound. There weren't many clunkers but highlights for me included: "Crying," "Stork & Owl," "Shout Me Out," and "DLZ"

I feel like some albums in the project get the short end of it if they happen to pop up at a time when the mood isn't right. Well this album came at just the right time. A little bit high, enjoying an old fashioned, and at the end of a long weekend in need of some chill. Was really vibing with the last track "Attached."

Enjoyed it more than expected. Sometimes it's easy to understand why someone is considered a genius even if they're not completely your cup of tea. This was one of those times for me. I could really hear the genius in this album.

Sometimes you learn things when you get an album. This time I learned who Robert Wyatt was... not surprised that he is a British artist (the project tends to be heavily weighted toward the Brits)... and read about his interesting life story. A curious album, the title Rock Bottom makes sense when you learn that a year prior to the recording of this album he suffered an accident that left him a paraplegic and unable to play his main instrument of the drums. He took on other instruments and went solo after this and seems to have had a fascinating career.

An interesting blend of 90s indie and 80s pop. Sometimes had a Smiths vibe, sometimes a dash of George Michael, I liked more tracks than I didn't, with the stand outs being "Quiet Heart," "The Devil's Eye," "Streets of Your Town," "Was There Anything I Could Do?," and "I'm Alright."

Like other albums from this era, with this kind of legend, I appreciate the artistry, but it felt very repetitive. I don't see myself ever putting this album specifically on, but it was pleasurable to listen to.

Fast and furious, nearly every song on this album is a banger. It holds up. Period.

I had my brief Beastie Boys era when "Check Your Head" came out in high school, but besides that I've had little stomach for their music. It just comes off as a bunch of shouting of this guy to that guy and back again and honestly it gives me a head ache.

Surprisingly enjoyable. This was completely new to me... don't think I've ever heard of this group and I found myself grooving throughout the listen. And I would have never thought I would enjoy a song about John Gotti.

Ugh. You know you're in for a long one when the homophobic slurs start 1 minute into the first song. "Spaceship" was one of the few songs I liked.

This albums falls into the category of something I would not listen to specifically but thoroughly enjoyed. And also falls into the same category as Neil Young and Bob Dylan and some of the others I've heard in which the genius is very apparent. I loved how the songs felt spontaneous and raw but also rehearsed and slick at the same time. It went by so fast I wish there was more.

It was interesting to listen to because I was pretty much only familiar with the "Humpty Dance" so I imagined the rest of the album would be sort of joke-y. And while there was plenty of humor, it was more balanced.

This CD was practically melted to my CD player when it came out I played it so much, but I haven't listened to it much in a long, long time. And honestly, it doesn't quite hold up. Sounds very dated and so many songs feel are forgettable. Probably could have been a much tighter single disc album rather than a double. The songs that resonated with me most were the mellow ones especially towards the end of disc 2. "Lily," "By Starlight," and "Fairwell and Goodnight," the last 3 songs, were my favorites in addition to "1979."

It was fine until "Blue Condition." That's where it lost me. And I learned that was the one song written and sung by the drummer. It really had that Ringo song feel. But really, this just isn't my kind of music. I don't like music that heavily leans into guitar solos.

I was excited to listen to the album, but it was kind of meh. Amazing how one song can sound so much different than the other ones in terms of production and all around quality and then it not be surprising that that is their most well known hit.

A couple of great songs on this album, but I'm not a big fan of David Bowie's soul era. Much prefer the glam rock side of Bowie.

I appreciated this album but it wasn't my favorite. The blend of jazz and orchestral elements was interesting, but I prefer a more gritty jazz.

It was so promising for the first 30 seconds until the vocals came in. I dug the 60s kind of raw, surf rock inspired style, but the shrill vocals and bizarre lyrics were a turn off. I am happy I listened to it, but was also happy when it was over.

Concept albums are funny to me and that's probably the only thing that drags this one down from a 5 to a 4. Giving it a theme and having that weird Voices of Old People track. Otherwise, enjoyed listening to Simon and Garfunkel at the height of their powers.

I didn't know much about them before listening to this album, but it seems like maybe they don't the credit they deserve? The album was a pleasant surprise--seemed ahead of its time--but based on their low number of listeners on Spotify (only about 175k) they don't appear to have nearly the following some of their contemporaries still do. The first three tracks were my favorite, but there were quality tracks throughout the album.

Understandable why this album is probably considered one of the best rap albums of all time. It had everything: powerful messages, good beats, great sampling, some humor, and Chuck D might have the best voice in hip hop. Awesomely entertaining.

I had never heard of this band before and like a couple of others that were entirely new to me, I was quite pleasantly surprised. The first half I give a 5/5... the songs were unique and interesting and had a good range of styles. The second half fell off a bit for me. In a weird way it seemed like they were taking their music too seriously. But overall, a banger.

Great album when look for music to cut commercials to in the early to mid 2000s. Or maybe good music to write to, but not a great album to listen to from start to finish as a music exercise.

The very definition of a 3 for me. Shocking to see how popular they are on Spotify in terms of listens. Sure, "Sultans of Swing" is a fine song, 1.4 billion listens? Is it that good?

Much like many Spotify artist bios I've encountered, Mudhoney's contained a lot of undeserved bluster. Based on what was written you might be led to believe that Mudhoney was the seminal grunge band of the early 90s. I hate to break it to them... they weren't.

It was fine, but mostly forgettable. Enjoy the mellow last song "Slide Show" the most I think. Did not like the songs that sounded the most like Radiohead. When it ended nothing played next... then I realized 'hidden track!' In the most 90s CD possible way with like 5 minutes of silence on the last track and then another song. I liked it! Not just for the nostalgia reasons, but it was a good song.

I found this whole album very grating. This reminds me of the type of music that much better bands (like Nirvana, for example) point to as inspiration but don't really deserve the props.

I went into this one with majorly preconceived notions. I liked REM a lot in high school and college but have sort of gotten over them. I really thought the album was going to annoy me, especially considering this is a super early album I wasn't even familiar with. Turned out to be a pleasant surprise. Maybe it's time to give REM a chance for a renaissance? Highlights included: "Laughing," "Shaking Through," "We Walk," and "West of the Fields."

Why are the most challenging albums to listen to always double albums? Any patience I had for this prog rock nightmare was lost when I heard the lyric "Erogenous zones I love you."

A rough one. The only word that comes to mind is "cheesy." There have been other albums I haven't liked but could understand why they were included. This is not one of them.

I don't know... maybe I'm not in the right state of mind for this, but it was just fine. Kind of too whiny for my tastes. Of the songs I've heard from this album I've heard them all too many times and the ones I hadn't didn't really grab me. I enjoyed Rust Never Sleeps and Everybody Knows This Is Nowhere much more.

Another surprise! Sort of a proto-pop punk sound. I was sad when it ended so fast.

This definitely is the current title holder of most random record I've gotten. It was a fine album for what it is but not sure why you must hear this before you die.

This is one of my all time favorite albums and the uncontrollable glee I felt when it popped up only reaffirmed that. Such catchy tunes that have a sort of timeless indie sound. Knowing the backstory of the album, which was essentially funded by a public Scottish arts fund for out of work musicians, only adds to its genius because of how improbable its existence is. My favorites as always were "The State I Am In" (which amazingly endures as one of their best songs despite being the very first song on their very first album), "Expectations," and "Electronic Renaissance."

Meh. The couple of hits still hold up but the rest of the album is pretty repetitive.

Feels like Todd was trying to change up the genres on this album. Some of it was yacht rock, some straight up adult contemporary/soft rock, and then out of nowhere a doors sounding track or two. And none of them worked for me.

I guess it's karma that after getting one of my all time favorite albums ("Tigermilk" by Belle and Sebastian) I've gotten a series of clunkers. This one falls into the category of "did I REALLY need to listen to that before I die?"

I don't listen to Kendrick often, but whenever I do I'm always blown away. Which probably means I should listen more. This album was an opus, blending all sorts of musical styles with powerful lyrics. Not surprised to learn Rolling Stone named this in the top 20 albums of all time.

There is a new leader for worst album I've gotten in this challenge... and possibly worst album I've ever listened to from start to finish. It was difficult to stop myself from puncturing my own ear drums.

I haven't listened to a lot of latter day Bowie, but this album reminded me a lot of other aging rock stars' post-90s records. You can hear a bit of their signature style with a bunch of experimentation with and end result that is rather bland.

If there is something I learned by being on this musical journey, it's that my appreciation for punk music is broad, but it does have its limits. There is definitely a limit of too poppy for me on one end and too raw on the other. The Sex Pistols are pretty close to the limit on the raw side, but far enough away that I really love this album.

It's funny when music artists have distinct periods like painters, but this era of Paul Simon's music can definitely be defined that way. And I can understand how making this shift is considered when Paul Simon got his song writing mojo back after suffering from writers block for a while. The album is a masterpiece.

Liked it a lot better than expected! I thought this was going to fall into the generic, yet iconic classic rock--I'd appreciate it but sort of feel "meh" about it. But this really hooked me. My main criticism is that at times it got a bit lofty. Particularly on "Little Wing." Highlights were "Bell Bottom Blues" and the "Layla" outro.

I found this album to be surprisingly enthralling. But it may have just been that I got this album on 4/20. That being said, the music seems pretty niche. Makes it all that more amazing what a big hit "Luka" was.

Not a fan of prog rock in general, but find it especially torturous when it gets theatrical and this album went there. It wasn't even that long of an album and I kept checking how much time was left only to learn I was on the 3rd song.

I don't know... reminds me of Will Smith rap albums. Too positive or uplifting which just makes it feel bland.

There were a couple of tolerable songs but for the most part this was a pretty forgettable compilation of pseudo-intellectual crap with "What's Yr Take on Cassavetes" epitomizing that.

It wasn't at all what I expected. I guess pretty much the only Amy Winehouse song I had heard before was "Rehab" so I was surprised by how jazzy the album was. And it was a good surprised... I really enjoyed it. I can now understand why there is so much love for her music.

Meh. Mostly forgettable.

I thought this would be good writing music, being jazz and all, but it was way too chaotic. The whole making the trumpet talk thing towards the end of Track B was particularly jarring. Perhaps I didn't experience this one in the right state of mind, but I found it grating.

This is sort of my wheelhouse adjacent. The instrumentation was cool but the voice was a little too operatic at times for me.

I came into this as a skeptic. I mean, I know it's towards the top of many best album of all time lists, but I wasn't expecting to be blown away in a "how could it possibly live up to the hype" sort of way. And I supposed it didn't live up to the hype but it was a lot better than I expected. I expected it to sound more dated (kind of like the track "Contusion"), but it was quite timeless... -ish. Summer Soft" had me vibing the most. The second part lost a little steam for me and probably took it from a 4 to a 3.

I believe this album has fulfilled my falsetto quota for quite a while.

Seems like this was on the cusp of Brian Eno pioneering the ambient music scene... it was a lot more jazzy than I expected. Even chaotic at times. Maybe it was because of preconceived notions but I didn't care for it.

Had its moments but in the end didn't really distinguish itself from other indie/pop rock albums I've listened to and enjoyed more.

Well this was a delight. A CD that I wore out it high school but haven't listened to much recently aside from the more popular songs. It was fun to experience some of the deeper cuts again for the first time in a long time. "Silverfuck" and "Soma" in particular transported me immediately to the past in a much needed escape.

I wasn't expecting to like this based on the people I know who get excited about Sonic Youth and I was right. The music I enjoyed a lot, but the lyrics and the singing really ruined it for me. They really got me with the first song... their most popular song and all. It's funny how that's the only song I really liked from start to finish--guess that might explain why it's their most popular song.

I had never heard of this before and based on the weird name and weird beginning I thought I was in for a long night that would inevitably end in a 1 or 2, but it hit a groove and was definitely more listenable than I expected.

I've been exposed to a lot of Bruce Springsteen and it's just never hooked me. I can appreciate it for what it is but I don't know if I ever had or would specifically put Bruce on to listen to.

Possibly a top 5 all time 3 song start to an album. Just one banger after another. It plateaued a bit after that with a little bit of filler but really, it would be impossible to expect that level of epic to be maintained throughout the whole record.

One of the most unforgettable albums I've ever listened to. Made absolutely zero impression on me.

Most of this album didn't do much for me, but I did find myself enjoying the songs that skewed more electronic better than the others. "Stars All Seem to Weep" had a nice 90s groove but songs like "Devil Song" dragged the album down for me.

It was nice to be presented with something truly new. Not just a band I haven't heard of, but I'm not sure if I've ever listened to any music that originated in Mali before. So I appreciated it from that standpoint--the opportunity to be exposed something entirely unexpected. The downside was the music itself really didn't grip me. The strong blues influences were obvious and unfortunately that kind of music just isn't my jam.

Really dug this album. Leonard Cohen is one of those artists that I enjoy but want to get more into and was thrilled that this album popped up. It was only 35 minutes long but still it flew by and I was sad when it was over. It was especially disappointing after the last track "Tonight Will Be Fine" because it was a delightful song.

I remember the song "Wishing Well" from this album from whenever it came out and even as a kid thought it was cheesy. And time did not de-cheese it. Had a hard time finding anything about this record that warranted its inclusion on this list.

I had a feeling I was going to get a great album today and I could not have been more wrong. Prog rock is just a no go for me. This album epitomizes my confusion with prog rock... is it serious? Is it sort of a put on like professional wrestling or are the members of Rush the biggest nerds on earth? Mercifully this album was only 36 minutes long, which was surprising to me because prog rock bands tend to be enormously self indulgent in my experience.

I'm not good at naming sub genres of music so I had to look up what this album is considered. In doing so I learned that this is considered to be indie folk/soft rock and now I know what one of my least favorite sub-genres of music is. I imagine this is a divisive album. I can see someone thinking the lyrics are deep and meaningful but I found them to be pretentiously simplistic--a giant swing and a miss in an attempt to capture Leonard Cohen's magic of making lyrics seem spontaneous yet extremely profound at the same time. Lowlights were "Sigourney Weaver," "JC Hates F*****ts," and "Leopard and Lamb."

This is an era of music that I just can't connect with unless I'm in a very specific situation and unfortunately when listening to it I was not at a live sporting event.

And continuing my current trend of 1 and 2 star albums, I get my 3rd Kanye album before getting any Beatles albums. The constant barrage of delusions of grandeur and self adulation was insufferable even before he became a Nazi. Mercifully, it was relatively short.

This album (and the Who in general) are a major blind spot for me. They've sort of gotten grouped (maybe incorrectly) with the Rolling Stones in my mind and I just don't care for the Stones. So I was happy to get this album to be "forced" to listen to it. And it was more enjoyable than I would have expected. Don't see myself listening to it again any time soon, but it was a pleasant experience.

I was pretty ready to give this a 1 or 2 expecting the album to be super cheesy from start to finish, but some pretty big nostalgia kicked in. Love Bites really got me feeling like Johnny Lawrence reminiscing about the 80s. It was so weird to hear Ronald Reagan clips in "Gods of War" because it sounded so dated but so close to home in the horribleness at the same time.

This falls into the category of "not the vibe of music I was expecting and not nearly as bad as I thought it would be." I evens out to be solid 3.

Delightful. For me, nothing beats the combination of raw sounding music that is also whimsical and airy and this album is maybe the epitome of that.

I was not expecting to get so emotional listening to this album. The combination of nostalgia and the lyrics really got to me. It was as if George Michael was writing about today. In "Praying for Time" when he says "And it's hard to love, there's so much to hate, hanging on to hope, when there is no hope to speak of" might as have been written today. The album is pure perfection and I would have listened to it twice if I didn't think it would totally depress me.

I was a big fan of Beck in high school and college. After Midnight Vultures getting worn out in my CD player, I was highly anticipating this album. And the feeling I had listening to it this time was the exact same as the first time I heard it. The first 3 tracks had promise and then it fell off a cliff. A bit of a disappointment all around.

Half of this album was somehow more sophisticated than I expected. And the other half was just as, if not more, cheesy as I expected. Putting it square in the “meh” category.

I've noticed that there are some bands that are known for specific songs that you hear over and over again and you think that is just what that band sounds like. That was what I was expecting here and sort of dreading because I'm just not into that Doors vibe. But it turned out, some of the lesser known tracks on the album were quite a different feel and I like them. In the end an average experience.

This was a very forgettable album. Very "meh" and left little impression on me other than wondering what other more interesting album might have been left off to make room for this one.

I really didn't feel this one... especially once it got into maybe homophobic lyrics? It was the definition of what I consider a 2 star, I wouldn't necessarily get up to turn it off, but I would ask.

I'm not that familiar with specific Bjork songs, but this album was exactly what I expected.

I don't know if his music has gotten more sophisticated or what, but this album was pretty cheesy and dated and I was happy when it was over. Another baffling choice for this list.

Wow. It's amazing how some albums (not even ones that old) can sound so dated and yet something that was made over 50 years ago sounds like it was made yesterday. The music had a magical mix of pleasant and haunting. Very much in the same vein as Elliott Smith--not surprising I suppose considering their tragic stories.

Love this album. Solid from start to finish.

I have fondness for 90s Radiohead, but this is where they sort of lost me.

How I reacted when I heard the lyric "There goes god... in his sexy pants and his sausage dog" perfectly encapsulates my reaction to this album. "Huh?"

I'm not as familiar with the first couple of Pixies albums so it was delightful to experience this. I loved every second of it and hope this indicates that more of their stuff will be on this list.

I've been waiting for the day I could write something positive about a prog rock album... and today is not that day.

Listening to this album made me extremely nostalgic… and kind of sad. It was so good and it reminded me of when it first came out and I basically wore the CD down. And how great Coldplay were when I saw them live at the Hollywood Bowl. The rawness and indie vibes of this particular album really hold up after 25 years. What made me sad was how their later music, so much more slick and poppy sort of turned me off to the band. After listening to it again though I may have to put it back into the rotation.

It was remarkable how much this album sounded like a collection of Ringo songs. Between his voice, the style of music, the lyrics (there was even a song called "Octopus") I was getting real strong Ringo vibes. Unfortunately I think Ringo songs work best when they are 1 to an album... not all 13.

I was not familiar with this particular Elvis Costello album and after listening to it I was surprised to find out it was from the mid 80s. It was raw and original and really felt like something more from the earlier parts of his career. Lots of highlights for me especially "Home is Where You Hang Your Head," "I Want You, " and "Battered Old Bird."

Ok, Bob. I get it. You're a genius. Do you need to rub it in our faces? This album is so solid and emotional and rich and complex. My partner told me it was written after his divorce and you can really feel it. Especially in tracks like "Idiot Wind" which was already brutal before knowing the divorce context. Yikes. Favorite tracks... "Lily, Rosemary, and the Jack of Hearts" and "You're Gonna make me Lonesome When You Go" but I really loved it all from start to finish.

Not what I was expecting... is that category that this album fell into. Similar to other artists that are known for a few major hits that have a very distinct vibe, I was expending this album to sound ultra-80s. But it was more nuanced and I enjoyed it quite a bit.

Surprised, but not surprised by how theatrical this album was considering Neil Hannon works a lot composing for TV and film, including writing the songs for Wonka. Funny to see he was a performer in Stuart Murdoch's "God Save the Girl" movie because Stuart mentioned him when we met as a person his wife wants him to be more like--because he's getting paid to write songs for movies. That all being said, I can appreciate why this album is on the list, but just wasn't my cup of tea.

There was a lot of meandering on this album. Didn't feel it.

So I had never heard of The Thrills before so I immediately figured they were from the UK or thereabouts based on the skew of this project. Then I doubted myself because the music was so reminiscent of the 60s/70s Laurel Canyon vibe. Then I noticed the lead singer's accent and realized both things were true. It was an Irish band that was sort of doing an homage to that era of music. Aaaannddd... I think I'd rather just listen to that music.

There was a lot of meandering on this album. Didn't feel it.

This is a Beach Boys album I was not familiar with and it wasn’t my favorite. Such a weird collections of songs about the environment that reminded me of songs from an after school special or something. I could picture the rudimentary animation that would go with it. Had to listen to pet sounds immediately after as a palette cleanser.

Great music to code to. Love this vibe/instrument combination.

Not as bad as I expected. When I saw husband and wife fold duo from the 70s I feared the worst. But it wasn't the worst. Maybe the UK slant made it a bit more palatable. The Bob Dylan influence was strong.

Meh. Didn't really grab me and then lost me totally when Kanye showed up.

Like a lot of bands who maybe veered into the cheesy territory later on in their careers (REM, U2, Aerosmith) I was not expecting to enjoy this album as much as I did. The same thing happened with REM when I listened to their first album. There must be something about the rawness of their beginnings that comes through and speaks to me.

I'm sure this album is important in the evolution of rock music, but I found it to be a bit of a slog and not as good as I was hoping.

Well talk about a mood swing. When this artwork popped up for me I thought for a split second that I finally got my first Beatles album. Sadly, I was wrong. I guess I'm happy in a way that I've heard this record (and never will again), but it really was a slog. I know Frank Zappa and Howard Stern had mutual respect for one another, but I never know how much Howard had to have been influenced by this album. It seemed more like a comedy album than a music one. And unfortunately it wasn't all that funny.

This was another head scratcher and an album I'll be remembering when I get to the end of this project and certain excluded albums come to mind.

As much as I have listened to the opening track aptly titled "Intro" and think it is a great song to write or code to, I didn't know much about this band, but I had high hopes. Sadly, the album did not live up to the expectations at all. The music was so stripped down I thought my audio balance was off and I was missing a channel.

I suppose this is an album worth listening to once. And now it is done.

This is right at the moment when I lost interest in Radiohead. Like, literally the first track is so good and then it all changes and I've never been quite into any of their albums after this after wearing out my CD player with OK Computer, Pablo Honey, etc.

It's amazing how some bands can have music that is such of a specific era yet their music has a timeless quality... like Nirvana's Nevermind, a bunch of Beatles albums, the Postal Service, etc. And then some bands can have music that essentially sounds the same as these timeless albums but they come off as so dated. This album is one of the latter.

Loved it! So solid from top to bottom.

I’ve heard of this but never listened before. And it’s a no from me dog.

This mix of punk/new wave and country was... interesting. Not surprisingly I was more drawn to the songs that leaned more into the punk than the country, but in the end it was a mish mash that just didn't work for me.

Brilliant from start to finish and over way too quickly--perhaps a fitting analogy for the man himself.

I love being surprised by this list and this was one of those times... Not quite as mind blowing as my experience hearing the Stone Roses for the first time, but pretty close.

Two early/mid 90s surprises in a row!

Pure brilliance. Constant groove. Didn't want it to end. Not surprising that practically every track was sampled as the basis of some classic 90s hip hop song or another.

I love a good surprise. And Mott the Hoople was one of them. I had no knowledge of this bad and enjoyed their Bowie-esque style. And interestingly I learned that they were championed by Bowie and even recorded the first version of "All the Young Dudes." Not sure I'd search this out again, but I'm glad I've heard it.

My first reaction was disappointment and dread and that was proven to be the right expectation. Obviously I've heard the typical James Taylor songs but never really delved into his catalog. When a "cover" of Oh Susannah came on I thought it was a joke or it was going to someplace else, but no, it was just James Taylor singing about a banjo on his knee. Excruciating.

I love me some musical Glaswegians. Well, I can't say that I *loved* this album but it was a pleasant discovery for me, book ended by two tracks that I really liked "Rip It Up" and "Tenterhook," The middle was hit or miss for me and had the feel of a band in the middle of a transformation to me.

This was my second Jimi Hendrix album and I liked it more... mostly because if felt less meandering and guitar solo heavy.

The first instrumental track was intriguing... a good vibe. Then it really look a left turn. The next few tracks made me fell like I was in a fever dream... and not in a good way. Although, is there ever a good fever dream? Regardless, I was definitely not in the right mood/state of mind for this album. And I'm not sure it's the type of sound I am ever in the right mood for. The most curious/interesting track was "Gloomy Sunday," which sounded very David Bowie-esque, but I learned it was a version of an old 1933 Hungarian song that has been recorded by a million people. 🤷🏻‍♂️ After that it went back to its assault on my nerves and didn't let up.

From that first sustained note I knew I was in for a long 46 minutes. And it was. Even worse than anticipated.

I can take or leave Rolling Stones music. Just not into that blues heavy rock style of theirs... Is it weird my favorite song on the album, the one that really got me to listen, was the one that wasn't sung by Mick Jagger "You Got the Silver." Am I crazy or is Keith Richards a better singer than Mick Jagger?

Sorry, it's just not for me. If I was in a place this was playing, I would politely ask if the person would change the music.

This album was a fine resource for finding music to edit commercials and videos to in the mid 2000s, but as something to listen to from start to finish, it didn't move the needle for me.

Meh. It had its moments but dipped its toe a little too deeply into the prog rock vibe for my tastes. My favorite song was the one that played by Spotify after the album ended...which was a song from an earlier album "All of a Sudden" and follows my pattern of preferring a bands earlier work over their later stuff.

This style of hip hop, the kind that just sounds like a group of people hanging out and jamming, is right in my wheelhouse. Which is interesting because I am NOT a fan of that sort of rock music. Go figure.

In theory I would have expected to like this, but I just didn't connect with it. I found it to be doing a lot of similar things with bands that were doing them better, like Nirvana, say. I found "Androgynous" to be so out dated it was hard to listen to and "Gary's Got a Boner" ???? What was that supposed to be. The one track I connected with was "Unsatisfied." But unfortunately it got buried in a bunch of songs that were either forgettable or annoying.

This album fell into the "I've listened to this album a million times but it's been a while" category and like most of the others I'm happy I was given the reason to listen to it again. Still loved that unique, haunting vibe and listen to some of my old favorites. But like I used to feel back then, it was a bit long with a little too much filler. All in all though it was a great listen.

Yes, it's one of the best singers of the 20th century singing some of the most noteworthy songs written in the 20th century... And yes, it very much deserves to be categorized as an album you must listen to before you die. And sure, it's probably good for posterity that they recored EVERY song in the Gershwin Brothers catalog, but 59 songs and over 3 hours is a slog.

Well, well, well... after hearing the more folk-y side of Emmylou Harris I was quite dreading this album. But it turned out to skew more Dolly Parton than Joan Baez and it was much more palatable than expected. Still nothing I would put on to listen to but at least it wasn't 45 minutes of torture.

I think I've only ever listened to Paranoid as an album, which kind of sounds dated at this point, so I wasn't sure what to expect. And I was pleasantly surprised. Weirdly, the things that I don't like about The Rolling Stones--when it skews to bluesy or even twangy--are what I liked most about this album. Still, the whole writing about "the occult" is kind of weird.

This album is a classic. It was when it came out and even more so now. The only strike against it is that “Hurt” sets the bar way too high for the rest of the album. I feel like it’s at its best when the songs are unexpected like “Personal Jesus” and “In My Life” and the few tracks that bring this one down from a 5 to a 4 are the ones that are in the typical Johnny Cash wheelhouse.

This album falls into the category of I appreciate the artistry, I'm glad I listened to it, and I probably won't again.

This was extremely meh and if I wasn't committed to listening to every track in this project, I would have shut this off about halfway through.

Love me some New Order, but this one skewed a little off for me. Still enjoyed the hell out of it

This is prime Elvis Costello... at least for me. I understand some of his bigger hits are on other albums, but this is the vibe I expect when I want to put on some of his music. Radio, Radio is one of my all time favorites and the album was just delightful throughout.

What needs to be said? It's the Beatles.

This had all the trappings of something I would like--British band I never heard of from he late 70s/80s, punk, new wave, indie-ish... but it missed the mark for me.

This for sure is a quintessential "album to hear before you die" and probably one that not most people have. I went through my latin jazz/mambo phase and don't see myself putting this type of album on anymore unless it was a very specific circumstance, so happy to have had the excuse to listen.

Meh. Thats how I’ve generally felt about the white stripes and that how I felt about this.

This album was very hit or miss for me. The hits were when it was more electronic/ambient sounding... the last track "Long Life" was a standout in this regard. It missed when it was more in the rock world and sounded like the Black Crows.

What exactly is a Showroom Dummy?

Just a remarkable experience. Other than artists the died young, has anyone else had their last album possibly their best? How can he sound haunting and dark and yet optimistic and uplifting at the same time? I guess that's sort of his thing, huh? Well, not sure he ever did it better than on this album. My favorites were "You Want it Darker" and "It Seemed the Better Way," but that all had me sucked in. I had to stop the album multiple times because I wanted to make sure every song was getting my full attention.

I loved this album when it came out and I played it a million times, but this might have been the first time I ever listened to it and heard what Chuck D was saying. An important album and very much the definition of an album everyone should listen to.

Haunting and thought-provoking this album sounded a tad more dated than I would have expected having listened to it a lot when it first came out. It was a great end of a trilogy though with my last 3 days being Leondard Cohen's "You Want it Darker" and Public Enemy's "The Enemy Strikes Black."

There were some good grooves and some good vibes but overall this was a "meh" for me.

I don't know... there are some major bangers, but I feel like for a 40+ song double album they are few and far between for me and most of them were on The Love Below. If it was that single album it would have been a 3, but speakerboxxx weighed it down.

I was really expecting to hate this... but it was tolerable.

I know there a many sub genres of jazz music... jazz fusion, acid jazz, dixieland, etc.... whichever one this album is is among my least favorite.

A classic. Impressive, innovative debut.

I really wanted to like this but it was just noise to my ears.

Innocuous, inoffensive, and mostly forgettable. The definition of mid.

This is an interesting album because sometimes it's perfect and sometimes it's not--all dependent on your state of mind when you listen to it.

This album falls into the listened to this constantly when it came out, but later experiences soured me on the band, haven't listened to it in a while and was happy to revisit. In the case of Arcade Fire, it was seeing them live that sort of ruined it. They only played a few songs, none of the good ones, and weren't very good. Happy to be reminded of this gem.

Obviously a classic with a lot of bangers and I enjoyed it. But it's not the type of album I'd ever see myself putting on intentionally which puts it at a 4 for me

Maybe an unpopular opinion, but every Rolling Stones song sounds the same to me.

Man, this album probably gained 2 stars because I was high.

Meh. I have done my best to give artists I haven't cared for in the past a fair shake when their albums come up. In some cases I have been pleasantly proven wrong and enjoy the music more than I expected. This was not one of those times.

This was a perfectly pleasant 40 minutes of latin jazz.

I'm more of a New Order than a Joy Division kind of guy.

This music reminds me of Smirnoff Ice. I don't know a single person that likes it yet clearly millions of people do. Where the hell are they?

This album is brilliant and captivating from start to finish.

I thought this album might help me "get" Taylor swift. It didn't. Nothing at all stood out to me as anything more than perfectly "fine" somewhat generic songs.

Other than a couple of stand out (albeit overplayed) tracks, this album sounded kind of generic to me.

Perhaps this album suffered from high expectations because it always appears on top 5 of all time lists, but I was very excited to listen to it and wound up a bit disappointed. It seemed very meander-y.

This is not an album I think you need to hear before you die. It's a great album to listen to while writing or coding or doing something like that, but I'm not sure it's something I'd want to just listen to by itself. Also, another case of Spotify artist biography hyperbole: "Heralded as the saviour of dance music by everyone from NME to Elton John..."

I love when I listen to an album outside of my wheelhouse and can hear and appreciate the genius that went into its creation.

Eclectic. In a good way!

I'm just not much of a metal fan. Metallica's black album came out at just the right time for me so I have a lot of nostalgia for that specific one, but otherwise this music (despite being able to appreciate the technical prowess and artistry of the band) borders on sounding cheesy to me.

I love bands when they are at their raw-est.

One of the things I've most looked forward to in this project is to be, well, forced to listen to albums by bands I don't care for but maybe haven't given them a fair shake. Led Zeppelin falls into that category... I've never really liked them but I'm not sure I've ever listened to a whole lot of their music other than their most famous tracks. It's nice to have a definitive answer one where or another and in this case: can confirm. Don't like them. I had a similar confirmation with the Rolling Stones and I'm thinking maybe I just don't like that early era blues "inspired" rock.

I actually enjoy drum and bass music and considering this is considered a "groundbreaking release in the history" of the genre I was excited. But I don't know. Maybe these albums aren't meant to be listened to this way. Meaning, as one complete experience rather than different tracks by different artists mixed together by a talented dj. It was a painful one to get through.

This is one of those bands that I've tried to like before... for all intents and purposes, should like, but it always turns out to be more twangy than I expect or like.

This was one of those albums where I know (and enjoy) their hit songs very, very well, but wasn't really sure what the rest would sound like. I was pleasantly surprised by some of it, but not so much for the parts that skewed folk/country.

I've loved all of the Nick Drake albums and I'm sad this is the last one. But of the three, this one spoke the least to me. It was still a great experience, but maybe it a way it wasn't as varied as the others?

An amazing and thrilling 15 minutes. It left me wanting more, but it probably was just the right amount of chaos to allow a person to maintain their sanity.

I was pleasantly surprised by the first REM album I got... which was their debut album. It was almost as if it was the lack of "REM-ness" that resulted in the positive reaction. So, in contrast, this one was very REM-y and therefore, not great, Bob.

Not sure if this is an unpopular opinion but I enjoyed this a lot more than Rumors. So many interesting tracks. From "The Ledge" which almost felt like an Animal Collective song to "Sara" which sounded like the theme song to an 80s sitcom to "Tusk" which was Pink Floyd .

Hmmm... It was ok until it got very pirate-y. And I'm really into pirate music outside of Pirates of the Caribbean.

This album was definitely ahead of its time... by about 6 years because every song sounded like a 1984 Commodore 64 game's soundtrack. In the best possible way.

It was kind of torturous... I think you need to be in a very specific mood to listen to an entire album of operatic heavy metal and I just wasn't in it. Got a nostalgia bump from a 1 to a 2 for some specific childhood love of "Running to the Hills."

Delightful and somewhat surprising. I have always loved what I know of The Smiths, but my exposure is limited. So some of the vibe was different than I expected--less earnest and a bit more playful than I would have thought. I thoroughly enjoyed it.

I didn't connect to this one. The closest comp I could think of was Elvis Costello, but they didn't quite have "it" for me.

This just falls into the I didn't really connect with this music category. Not sure I am anywhere close to the target audience.

A perfectly serviceable David Bowie album with nothing that really stood out for me one way or the other.

This time period of indie rock is very much in my wheelhouse. And I probably should like Goldfrapp, but I've given them a try multiple times in the past and it just hasn't happened for me. This was probably the last nail in the coffin.

This era of soul (late 70s/early 80s) just isn't for me.

This was a pleasant surprise. Not in the sense that I looooooved it, but in the sense that based on the band name (which I had not heard of before), the album title, and the album art I was expected this to be some kind of real shitty French avant garde music. When it turned out to be a sort of raw punk album I couldn't have been happier. I wished I liked it more though.

This is one of those albums that I have heard it drips and drabs, some songs more than others, but never in its entirety all at once. What an awesome experience that lived up to the hype.

This album was a remarkable surprise. Not sure I've ever heard an album that so successfully bridged late 70s and early 80s music. Or maybe it was the balance of new wave and jazz. It really worked for me.

Well that was phenomenal. The Isley Brothers are a blind spot for me and I just don't think I really knew who they were... confusing the Doobie Brothers, the Allman Brothers, the Isley Brothers, and whatever other Brothers Bands there were in the 60s and 70s. But I dug this from start to finish. Even though sounds I've heard a million times such as "The Lady" gripped me and I think I might like their coverss of "Listen to the Music" and "Summer Breeze" better than the originals.

It's been a run of surprising albums. I thought I knew Massive Attack but apparently I didn't. I even saw them live at Coachella a million years ago and all this time I remembered their music to be more industrial like Nine Inch Nails or something. But I was waaaaay off. I didn't realize their music was so soulful. Ok, just checking the lineup from the year they did Coachella, it was the same night as Tool. So either I am mashing their music together because I heard them so close together... or I never even saw Massive Attack and I'm confusing them with Tool.

This album is obviously a classic... but I've found I'm more of a New Order guy than Joy Division... I suppose the transition to more of a new wave vibe appeals to me.

I made a vow to listen to every minute of every album in this project, but this one put that vow to the test more than any I've gotten so far. Mercifully it was short--it was still 40 minutes of pain nonetheless.

This album perfectly encapsulated how I feel about post-Ok Computer Radiohead. Totally forgettable and at times, annoying.

I obviously know their hits well, and I've seen their videos a million times, but I never owned this CD and I'm not sure I ever heard the album in its entirety. And I could see why it is so beloved.

In this first year of the project I've learned one thing for sure that I didn't know about myself. And that's my love of late 80s/early 90s NYC hip hop. Tribe Called Quest, Pharcyde, Wu Tang, Public Enemy. They've all been among my highest rated albums. This album in particular was a delightfully awesome groove from beginning to end. Way too short. Stand outs for me were: "Butter," "Vibes and Stuff," "Jazz (We've Got)," and "What?"

This album meant a lot to me when it first came out and is still epic from start to finish. The one area it sort of falls short, and maybe this was accentuated by the fact that literally the previous album I got was A Tribe Called Quest, but it doesn't quite hold up in certain ways. The whole homophobia vibe just sounds dated. That's what dropped this one to 4 stars for me.

Definitely different than I expected. There was a lot more Beatles and Rolling Stones vibes that I would have thought. And not surprisingly, based on my taste, I enjoyed it when it skewed more Beatles than Rolling Stones. Unfortunately there was more of a blues vibe than rock.

I enjoy the Arctic Monkeys but had never heard of this project before. It was surprisingly delightful. Loved the vibe especially the mellow vibe of the last couple of songs.

Every artist has a moment when they are at the height of their powers. For some it's a singular album, for others it's a period. Sometimes it's an aberration in an otherwise lackluster career and sometimes it's like the tallest peak of a vast mountain range. This album for me is the very point at the top of Elvis Costello's Mount Everest hovering just above "This Year's Model."

I was quite skeptical when I got this one, but I enjoyed it just fine! Dude can sing. Guess that's why he's the king of rock, huh?

Another day another debut album from a band I don't care for that I found to be actually good! I'll need to figure out why this is one day.

This one just didn't connect with me. It was too bare or something. There was one song I really liked... turns out it was written by some other guy. Prince I think his name was. Wonder if he has any other good songs.

I feel about this album the same way I feel about Smirnoff Ice. It's a mystery that there is even 1 person that likes this shit.

Being known for your singing doesn't always mean you're a great singer. Kurt Cobain for example has an iconic voice but wasn't exactly a "great singer." And having a great voice doesn't always equate to being iconic. But Adele may legitimately have the greatest voice on earth. Other than her big hits I wasn't that familiar with Adele's catalog and was enthralled by this album. I particularly like the last few tracks with the jazzy "Million Years Ago" as a stand out and "All I Ask" which reminded me of Hopelessly Devoted from Grease or a cheesy 80s prom type song... but somehow good! Now that accomplishment alone is worth a 4 all by itself.

This was so nostalgic. It just had that quintessential circa 2010 indie folk feel and I was all about it.

Legendary. Lives up to the hype. Holds up. What more can be said?

There is just some music that sounds timeless. Not that it is generic sounding, but rather that it could have been made in any number of decades over the last 60 years. I really like that. And I really liked this album.

Kendrick is a genius... period. That being said, this album didn't resonate with me as much as To Pimp a Butterfly.

I don't know why but I scoffed when this album came up and it turned out to be a heavy dose of welcome nostalgia. There were more bangers on this album than I remembered.

This had the makings of something I would surprisingly love.... 60s era folk with a Glaswegian twist. But in the end it was what I would describe as... fine.

I'm learning to appreciate a good singer... how even amongst the best musicians some singers stand above the rest. Carole King is definitely one of those people. I enjoyed this album a lot more than I expected.

There are times this journey has taught me new things about myself--I never realized how into late 80s/early 90s NY hip hop I was or psychedelic rock. Introduced me to bands that I never heard of before that I now love or made me appreciate musicians that I may have scoffed at before. But there are times that it is only deepened my already existing opinions about bands or genres and one thing I have had confirmed and confirmed again is my dislike of country music. Especially old country music. Especially old country music about murdering women.

Fine. Just fine. Enjoyed that there were some surprising tracks. While much the of album had a Whitney Houston vibe at times, there were a few curveballs like "Make Over" that was almost reminiscent of No Doubt or Hole and "I'm Ok" which had a country ballad kind of feel.

What a weird one. Something real strange must have been going on in Marvin Gaye's life when he recorded this one. I mean, if there is any indication from the cover alone something was definitely up.

This was one of those exactly what I expected albums. I knew the hits and was not that surprised by the other tracks.

This is a classic that has eluded me and it wasn't a let down. If I could describe it, I'd say it's the most Beatles-y sounding non-Beatles album I've ever heard. Makes sense I supposed considering it was made less than a year after their break up and included a bunch of Beatles personnel on the tracks.

I don't know if my feelings are tainted by his anti-vax stance and other bizarre political views, but I found his voice to be grating throughout the album and the songs to be meandering.

Iconic. Nostalgic. Enjoyed every minute of revisiting this album. I played it on repeat when it came out but haven’t listened to it in years. Perfection from start to finish.

This is a head scratcher. Not a particularly good album. No noteworthy original songs. And all of the covers that are on it are done better or are more well known by other bands.

Well, well, well. This day has arrived. I was both excited and disappointed when it appeared because each time I rate my previous album I wonder if this is going to show up and now that will no longer be part of my ritual. This is hands down, by far, my favorite album ever recorded. It is a work of pure, raw genius. Knowing the history of its development, it was the result of a confluence of incredible, random, and wonderful coincidences. If you have read this far, go to youtube and search "Pitchfork If You're Feeling Sinister." it is an incredible one hour documentary about the making of this album and if you don't come away loving this band, well, you may need to reevaluate your humanity. The world needs more Belle and Sebastian fans.

I feel for like this era of 90s punk I either love it--NoFX, Blink 182--or hate it--this.

My assessment of this would be... not the type of thing I'd probably listen to again, but glad I did. I can see how it influenced a lot of music after it including perhaps Paul Simon's Graceland phase.

I don't know who John Barleycorn was, but he did not inspire very good music.

If someone ever asks you "What did 1983 sound like?" You should play them this album.

Love albums with great hits but also songs that go to much deeper and weirder places than the hits.

Otis Redding has a great voice and I'm glad I listened to this, but nothing jumped out at me as groundbreaking or iconic on this album.

It's too bad someone with such a beautiful voice has such ugly opinions.

I enjoyed the Lauren hill and Wyclef songs more than the others.

This album is perfect. It's hard for anyone that didn't live through it how huge Nirvana was and how much Kurt Cobain wanted to just play music without any of the other stuff that came along with being a rock star. This album encapsulates that moment amazingly with its mix of mellow arrangements of some of their lesser known songs along with the introduction of some of Kurt's greatest influences such as the Vaselines and the Meat Puppets (whom joined them in the performance). The last track, a cover of "Where Did You Sleep Last Night" might be the greatest final song on any album and was particularly haunting when it came out as it was released more than 6 months after Kurt's suicide.

This is the perfect example of what I love about this project. The Specials are a band I’ve heard of and can recognize a couple of songs, but did not know much about. Listening to this album not only gave me an appreciation for their work but also set me off on a Wikipedia rabbit hole where I learned all sorts of interesting things about their formation and history.

I typically like this era of punk/post-punk and have learned recently that generally the rawness of it is a big part of my appreciation. We, evidently this album was a bridge too far because it just felt like noise to me and I found the whole experience pretty off-putting.

Is this the greatest debut album of the 2000s? Probably for a rock band. It's one of those rarities without a single skip song. And it still holds up. Sounds as fun and energetic and fresh as it did the first time I listened to it.

Excruciating. That's the first word that comes to mind. The music didn't grip me and I found the lyrics to be so annoying. There seemed to be some kind of attempt at doing what Leonard Cohen does, but failing miserably.

For a "classic" classic rock album this one was totally pleasant to listen to.

I feel like this music is a mix of multiple genres that I like, but the combined result is not great, Bob.

It was great to listen to a classic album all the way through that I probably haven't before, but this didn't pull me in like a tractor beam the way Hunky Dory did.

This was perfectly pleasant mellow electronic music. Great for writing or coding, but nothing that really stood out to me as something I would specifically put on like some other artists I listen to like Nightmares on Wax or Air.

This to me is the quintessential example of the type of album that really qualifies for this list of albums to listen to before you die. It is not a genre I am interested in, not something I would search out, but glad I got the opportunity to be exposed to it.

It's weird. I don't really care for Led Zeppelin. And I don't really care for country music. But apparently when Led Zeppelin does country music ("Bron-Y-Aur Stomp") those 2 things cancel each other out. For me though that was the one highlight on this album other than the "Immigrant Song" which is pretty much the only Led Zeppelin song I like.

At its best this album sounded like generic 80s new wave, and at its worst it sounded like a cheesy 80s musical. The end result was pretty forgettable.

I really enjoyed Music from Big Pink but this one skewed a little too Grateful Dead for my taste--which is not great, Bob.

This album lead me to research what the difference between post-punk and new wave is and it seems the most basic difference is that new wave tends to be more pop oriented with more chart potential. Well, if that is the case, the record felt like it walked the line between the two, with the more pop-friendly songs in the latter half starting with "The Killing Moon" -- which happens to be a superb song that has a timeless feel that could be from the 80s, 90s, or 2000s -- and this was the half of the album I enjoyed the most. Aside from "The Killing Moon" my favorites were "My Kingdom" and "Seven Seas."

I love this album. Easy 5 star. Listening to it transported me immediately to the Jeep Cherokee I drove in high school, windows rolled down, and blasting it (maybe rolling the windows back up for "Rape Me"). My all time favorite Nirvana song "Pennyroyal Tea" is on this album along with some other hidden gems and listening to it this time gave me a new appreciation for "All Apologies" -- never liked that one probably because it was way overplayed on the radio and MTV. That all being said, not sure I would have put this album on this list. While it was great, it wasn't groundbreaking in any way like "Nevermind." Between that and what is possibly the greatest live album of all time "MTV Unplugged in NY" I think you've got Nirvana more than covered.

What an amazing encapsulation of what the evolution of rock and roll was going through at that time with its particular mix of sub genres it delved into. A little garage rock, psychedelic, R&B. Highlights: "Lazy Sun" and "Afternoon Tea"

I've really been enjoying the new waves albums I've been getting lately, but this one was a bridge too far. I don't know... maybe it just pushed too far into the experimental zone.

Talking Heads are one of those bands whose music I did not know well beyond their hits. I've found that in some of these cases, the rest of the band's catalog tends to be different in an interesting and sometimes better way. This is not one of those times... I found this album grating and almost too experimental for its own good.

I'm not quite sure how to rate this one... I found the music pleasant enough, but I fell asleep halfway through. Nothing really stood out for me.

I don't think I was in the state of mind for this. I needed something mellow I think and it all felt like a lot of shouting.

This is another example of an artist's obvious genius on display. I even could appreciate the songs that skewed country and were out of my personal wheelhouse. I expect big things from this Dylan fellow.

Amazingly I got 2 Bob Dylan albums in a row. This one, and the one from 1997 "Time Out of Mind." Maybe I'm in the minority here, but I actually thing I enjoyed the later one better. It was more eclectic in a way. I know Blonde on Blonde was groundbreaking and iconic but I'm not much of a fan of when early rock skews towards the blues and the harmonica got to be a bit grating after a while.

Sometimes an album hits just right. Mellow friday night vibes paired well with this one.

This is the kind of metal I just don't vibe with. There's just something about the lyrics in this sub-genre... "A new level of competence and power" for example. Hearing that very over dramatic, shout-y over enunciated way he says "comp-e-tens-ah" is just, well, cringe--there's no better word for it.

My favorite aspect of this project is learning things about myself that I wasn't fully aware of. Such as my apparent love of new wave music, British 90s indie pop, and 80s rap. My second favorite aspect is listening to albums from which I know a few of the group's biggest hits and come to appreciate the album tracks just as much if not even more. This album fell squarely into both categories.

Iconic. Love these jazz classics and learning about their origins. Evidently Dave Brubeck was ahead of his time, combining genres such as jazz and classical and popular music and that innovation really comes across.

If I rated these albums based on how I felt when they ended this would be an obvious 1 because there was a tremendous sense of relief. But then again, I can appreciate some of the artistry involved in making this kind of music so that bumps it up to a 2 for me. Overall though, a fairly unpleasant experience.

There are a number of huge rock bands from the 60s and 70s that I've never really cared for... The Rolling Stones, Led Zeppelin, the Who... and I've enjoyed being "forced" to listen to their full albums and give them my undivided attention. What I have mostly learned is that yes, I do in fact do not care for much of their music. Especially those bands and specific albums that skew more blues inspired. But I will say the Who is the exception and I have come to appreciate them in a way I never did. This album in particular has been the best of the lot. The hits hold up and the songs in between were enjoyable as well.

Loved listening to the complete concert with all of the intros and banter. Really felt like I was transported back in time to this sort of casual feeling assembly of jazz genius.

Repetitive in a way I can only describe as relentless... oppressive even. I was on the cusp of losing my shit from the amount of times I had to hear the phrase "Fatboy Slim is fucking in heaven." Even the big hit songs from the album have been so overplayed that they offered very little reprieve from the agony.

Prog rock gives me a headache.

Hate when an album I am really digging winds up only being 37 minutes long. Why is it always the tortuous prog rock ones that have the 2 hour special edition with alt takes, live versions, and extras?

This was an all new one for me and I really enjoyed hearing all the artists I like that were influenced by it. From Nirvana to Belle and Sebastian I was getting all sorts of 90s alternative/indie vibes.

Pleasant enough music that I would never specifically put on but would not complain if someone else did.

I'm sure this is an important album and I am glad I listened to it, but it was a bit repetitive for my taste.

Pleasant enough music that I would never specifically put on but would not complain if someone else did.

I was so ready to have this been one of those fine but eye rolling experiences of over the top 70s rock opera. But I found myself more engaged than I expected and kind of disappointed when it ended.

I really really wanted to like this one... but I found it quite grating and was relieved when it ended.

I love the Cure, but I will admit that I was not as familiar with this or their earlier albums before starting this project. I was more in tune with the poppier mid to late 80s Cure, but the haunting, gritty Cure is a revelation for me. Not surprisingly the song that I feel most encapsulated the entire vibe of the album is the final, title track "Pornography." Listening to that song, the backwards audio, staring at the album cover really puts you in a specific state of mind. I think right where the band wants you which is sort of a brilliant acheivement.

I love new wave music in general but it is amazing how many new wave bands I wasn't really aware of pop up in this list. Also, they all seem to be, according to their Spotify bios, "groundbreaking" and "redefined the genre." I kind of love the way Spotify bios are written... clearly by the band themselves or their representatives and how blustery and braggadocios and hyperbolic they are. It's a funny little corner of the internet.

Well... I have enjoyed most of the 80s/early 90s NY hip hip I've listened to through this project but this was not one of them. It reminded me of some other music of that era that I don't think has aged very well and I can't tell if it is meant to be serious or a little tongue in cheek which I don't think is a good review.

Tough to get through. The songs were endless and torturous. Even the short ones felt long. The track "Ten Seconds of Forever" really lived up to its name and seemed endless despite only being 2 minutes.

Neil Young has really run the gamut for me... and this is the low point. Not necessarily bad low, but I didn't connect with this one.

There are many albums I've heard from the mid-to-late 70s in genres like disco, hip hop, prog rock, etc. that haven't aged well and come off as goofy or meant to be tongue in cheek, but aren't. This album actually seems to be intentionally goofy! At least I think so.

Yeah... evidently John Prine was known for "turning a phrase" but maybe it's just a bit too long and his lyrics haven't aged so well. Because it all felt very corny and honestly cringe.

Always enjoy a good early album for an artist... this one was unsurprising and pretty straightforward, but the man knew how to sing some jazz standards... Loved the ones that were most jazzy with "Tell Me You'll Wait for Me" being the highlight of the bunch.

I was really ready not to like this but was pleasantly surprised. Love when that happens. I got Leonard Cohen vibes... but less dark. Great late night listen.

I like Metallica fine, but I was ready to give this album a 2 after the first few songs... just all felt too drawn out and indulgent. But "Nothing Else Matters" - happens to be my favorite Metallica song and the orchestral arrangement for it was pretty epic. That gave the album a second wind for me.

Have you ever listened to a musician's work and from it you can tell that the person is an insufferable douche? Well those are my feelings about Jon Spencer.

Loved it! T.Rex is a band that was not on my radar other than their biggest hits. This album raced by for me and I found myself bopping the whole time.

There are times when I discover when a long, difficult to listen to album is actually an extended special edition and I will often listen only to the tracks that were on the original version. In this case, I was enjoying it so much I discovered that there was a "complete recordings" version and I listened to that one. Not sure if it was the nostalgia of reminding me of being at my grandparents house but I vibed with it. Side note... in another great edition of blustery Spotify biographers the first line of Frank Sinatra's is "arguably the most important musical figure of the 20th century." Sorry Chairman, but I don't think there is an argument for that.

The quintessential album (for me at least) that belongs on this list. Getting exposed to something that is a ginormous blind spot for me and getting to enjoy and appreciate it.

What can you say? It's a classic. It holds up. Every song is a banger.

Perfectly enjoyable music.

Nope. Some old music is just a bridge too far for me. Lost me at boll weevil.

This album was fine, but honestly, after two months of Christmas songs everywhere, it was a bit much. Particularly with Phil Spector's "wall of sound" which I can only take in small doses.

After Phil Spector's Christmas wall of sound I was hoping for some a little more chill, but this album was extremely shout-y. Maybe I just wasn't in the right state of mind for it, but I was relieved when it ended.

The first thing that comes to mind after listening to this album is "hit or miss." Like, the songs that I recognized, aka the ones that were legitimate hits, were bangers. Amazing. Really felt them for the combination of nostalgia and the fact that they were straight up excellent songs. Some of the others though either bordered on cheesy or were just straight up cheesy.

Horrible. Everything about it. Even worse when you read about the main Megadeth douche bag and his beliefs.

I love the Beatles and I love Paul McCartney in particular but I found this album to be... serviceable. A couple of great songs including the title track and I really loved "Nineteen Hundred and Eighty-Five" but the rest was that typically solid McCartney song writing but didn't enthrall me.

Terrible. Unlistenable. Pure torture. I had to check more than once to see if I was accidentally playing 2 very disparate songs at the same time. But no, it was intentional. This album sounded like a bunch of people got in a room, played whatever the hell they wanted without regard for the others and some guy got extremely wasted to the point of being incoherent and just screamed into a microphone.

Not at all what I was expecting. Fine for what it was I guess.

Almost as pleasant a surprise as The Stone Roses. I had not (nor had my spouse) heard of Shack. Not sure at all what to expect and was really blown away. But I guess I'm a sucker for mid to late 90s, northern English/scottish indie bands. 🤷🏻‍♂️ Highlights: "Natalie's Party," "Re-Instated," and "Daniella"

I have come to especially appreciate albums that have a number of songs I am very familiar with (in this case, "Our House," "Woodstock," "Carry On," and "Teach Your Children")--songs that can be considered classics, but then it turns out the rest of the album is better. Maybe it's because those songs are fresher to me, but regardless in these cases really showcase the genius of the creators.

I discovered this album in the early 2000s as part of my job as an editor (there are a lot of great tracks to cut to) and I've listened to it regularly since (and still sometimes cut to it). It is a remarkable achievement when you know how it was crafted and really stands the test of time. "Changeling" is one of my all time favorite tracks.

When an artist's Spotify bio begins with a quote from the International Trombone Association you know you're in for something different--I don't typically listen to trombone-heavy music. And all I can say is, yes, it was something I wouldn't typically listen to and it was pleasantly fine.

Has punk music ever been so beautiful? Maybe it wouldn't necessarily be categorized as punk, although their bio refers to them as "emerging from the New York punk scene of the 1970s." Either way, punk or not, its blend of rock, jazz, and maybe even what sounds like proto-new wave really worked for me. The title track was ten minutes of pure enjoyment and the next track "Elevation" really sounded like it could have been an inspiration for "Californication."

Not in my wheelhouse.

I'm not a big fan of the doors so I was expecting this album to be a slog, but it was surprisingly ok. Although I think I've heard the Snoop Dogg version of Riders on the Storm enough times that I missed him in the background going "Riders... riders"

I didn't mind it as much as I would have expected to hate a weird country album from this era... but I don't see myself ever listening to it again.

As a big time fan of fellow 70s/80s story song master Billy Joel one would think I would have an appreciation for Springsteen, but no matter how many times I've tried I just wasn't able to get into him. I feel like his music is always so serious... like he's constantly got the weight of the world on his shoulders. There's nothing wrong with that sort of song sometimes, but I wish there would be a bit more frivolity... like Billy Joel I guess.

I have always been a Beck fan, and there are many songs by him that I love, but I'm not sure I've ever connected with any of his albums other than Midnight Vultures. And while Odelay has some bangers on it, there are a couple of stinkers too. All in all, though, a solid listen.

I feel like there is disproportionate love for this album than it deserves. That is not to say it's not a fine album, but that's pretty much as high praise as I can give it.

I love when I can't identify the decade of an album... especially ones that could easily be 70s, 80s, or 90s which this one felt like to me. I obviously knew "Common People" but enjoyed the album from start to finish especially "Underwear" and "Bar Italia."

My greatest discovery in the first year of doing this project has been my love of late 80s/early 90s NY hip hop. Pharcyde, Tribe Called Quest, Run DMC, De La Soul, have all been among my favorite albums and this one continues that trend. Incredible music, powerful lyrics--looking forward to more.

Pain. Worst possible album for a stressful day. Felt like I was being assaulted and more than once had to check I didn't have Spotify set to repeat song because every single one sounded the same.

Two words I will never be excited for: concept album. I must say that this album was fine music and in some parts did what it was supposed (i.e. had me picturing the non-existent movie the track was from), but mostly I came away thinking "what was the point of this?" There are far better choices even in Adamson's catalogue that I think are more worth listening to.

Love it. I was not familiar with this particular album and enjoyed not only the music itself, but hearing all of the elements that influenced some of my favorite bands, especially Belle and Sebastian. Favorite tracks were the title track, "Animal Farm," "Village Green," and "People Take Pictures of Each Other."

I believe Jack Black's character from "High Fidelity" would refer to this as "sad bastard music." But as proud fan of that genre that is a good thing! Definitely the type of album that requires the right mindset and vibe to listen to--I guess I was in that mindset. There were a lot of highlights but my faves were the last two tracks "England" and "Vanderlyle Crybaby Geeks."

I was vaguely aware of Harry Nilsson and the fact that a lot of people love his music, but I was surprised to discover that I was very familiar with a lot of the songs on this album--maybe in part thanks to Quentin Tarantino. I was also surprised by how much I enjoyed the songs I wasn't aware of. This is going into my regular rotation.

Perfectly fine hard rock... I guess? Clearly a lot of technical skill, but this kind of music just doesn't appeal to me despite being to appreciate it. If that makes sense?

Of all of the Neil Young albums I've gotten so far, this was the most forgettable. Maybe I was too distracted when listening to it, but it ended before I knew it and didn't leave much of an impression except the song "Fuckin' Up" which seemed a little try hard.

The "lesser" of the Oasis albums really felt that way. A couple of bangers, but overall it lacked the pizzazz of What's the Story...

Now this is a quintessential album that MUST be heard. I mean, not only have countless artists been inspired by this collection of songs, but it influenced and gave birth to entire genres of music.

An obvious classic filled with lots of tracks I've heard a million times before. Then again, all of Little Richard's songs sound the same so it's hard to say for sure. Can't deny its influence on so many things that came after it, but as a collection of songs themselves not my favorite.

I got this album the day after Little Richard and I was expecting it to be similarly repetitive albeit it with a much different vibe. But some of the tracks were surprising to me, especially "May This Be Love" and "Third Stone from the Sun." Love a when my negative expectations are proven wrong.