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.

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.

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.