Huh, they have multiple albums. Who knew? (apparently lots of people) First 30 seconds: ooh some interesting vocals. This could be a more interesting approach to post-punk(?). Yeah this album is fun and fresh. Love so many of these songs: California waiting and Joe's Head are a blast. Like the Modern Lovers with less grating of sensibilities. This is a great artist discovery; how did I never listen to these guys?!? Huge.

Great album. Kashmir and in my time of dying both killer songs. Some of the lesser songs drag a bit along the way.

This was really good. Not really a big Willie Nelson guy typically (but maybe I should be?). Just very pleasant, mellow jams. On the other hand, this album doesn't have a ton of tonal contrast, but it was pleasant as I did my work. Highlights: Blue Skies Georgia on my Mind--Is this an original take? I don't think so, but its a great standard performed well Don't Get around much anymore and someone to watch over me is a very strong finish for the album

Uhh, this is fine? Kinda unremarkable 80s pop vibes. I’m guessing it was added to the list because it started the 80s sound or something historic. Nothing wrong with this album, but I find it pretty forgettable. Though I guess I always like albums less on a first listen.

-1 for sounding like off-brand Pixies, but without their distinctive weirdness and humor--like what if you sucked their soul out and replaced it with horny teenager energy. Not very original. I guess heart-shaped box is pretty good, but if it's the hit meant to redeem this album, it's woefully insufficient (All Apologies is also good, but better when covered by others). But in "rape me" (a dubious song to begin with) they quote the "smells like teen spirit" riff--which they already stole from Pixies U-Mass! Makes me wonder if Nirvana really just put everything they had into Nevermind, with no ideas left for the rest of the work

Huh, they have multiple albums. Who knew? (apparently lots of people) First 30 seconds: ooh some interesting vocals. This could be a more interesting approach to post-punk(?). Yeah this album is fun and fresh. Love so many of these songs: California waiting and Joe's Head are a blast. Like the Modern Lovers with less grating of sensibilities. This is a great artist discovery; how did I never listen to these guys?!? Huge.

I've encountered War before, but a different super-funky album. This is a mellower offering from them. City, Country, City is is extremely pleasant. The melding of funk, jazz and the twang of harmonica is great. Still, feels like something is missing here. But I don't know what, and my revealed preference (listening to this album 3 times this weekend) suggests I'm a fan.

Discovering that I actually loved Bruce Springsteen in 2019 after years of making fun of him was an early lesson in backing off of my pretension. Compared to later albums, this is a very tight album, and more thematically consistent (though Nebraska has it beat there). But when they let it all out in Jungleland it's cathartic. It's a great album, and a sign of the wonders to come.

I like the darker vibes of the album (I'm the one of us who likes Depeche Mode), but I'm not really getting thing out of the lyrics, and the sounds are dissonant without my really getting much out of it. Compared to, say, sisters of mercy or Siouxsie and the Banshees, which are goth, but feel like there is intentionality behind it. It feels like the post punk era people know they have a new genre on their hands, but haven't quite figured out what to do with the sound. That said, I could see myself coming around on this if I listen more. But that seems unlikely.

¯\_(ツ)_/¯. Sounds good. I don't have an ear for jazz at all (also I had to listen on youtube, so it was interrupted by ads, because one song isnt available on spotify). But this felt like it had a meandering tone that didn't really go anywhere (somewhat true of all jazz), which didn't help. And Jazz without words is harder for me to get into. But anyway as far as Jazz goes, I find I like Esperanza Spalding and Dave Brubeck more than this for reasons I can't describe. This was fine though. I liked The Wedding and the second half better. 3 stars.

This was real fun. Pretty straightforward (to my modern ears; I guess they were revolutionary in their time probably) indie rock. Almost a power pop sound.

Great album. At times a little schmalzier than my standard fare, but Stevie keeps it a little more grounded. And the integration of gospel into this funkier stuff is good. You Haven't Done Nothin' for some reason doesn't bother me with its very Superstition-y riff like other cases of very similar sounds. Probably because he's doing something different with it instead of hopelessly trying to recapture past glory (ahem, Nirvana). Initial listen was maybe 3, Second listen pulled it up. Plausible that this is a five star album once I know it, but pretty likely I never get more familiar with it.

An all-time great A-Side. Big enough to admit that high school me didn't listen to the full length album enough to be as sure about the second half. The quiet start rising into the full dynamic contrast in the first 2 minutes: ooh you know it's gonna be good! And the start to Neigborhood #3--oh man. Update: 2nd half is very good. Not quite as good as the first, but this is good stuff, folks. Oh am I a pretentious hipster for loving this? Don't care this is exactly as good as its reputation suggests.

As an irritating partisan of George Harrison in all thing Beatles internecine fighting, I was prepared to hate this. And... it's okay? He's kinda doing a Bob Dylan impression in the first half, but without the cleverness and nuance. But the vocals are okay (note that Yoko does not sing on this album). And then it's like a store-brand Beatles for the second half. Now, the Beatles are one of the great bands of all time, so store brand is still passable, but it's just like if you took the best Beatles stuff and replace it with somewhat bland platitudes. "god is concept by which we measure our pain" o.k. pal. "I just believe in me, Yoko, and me, and that's reality" wow this is ground breaking. Still, musically defensible.

In general this album is very soft. My primary complaint is that van Morrison doesn't have quite as much edge to him--a little too smooth. Some Ray Lamontagne vibes on this album, which is a good thing. This album's hits--Into the Mystic and Moondance--are a lot of fun. And the rest are pretty passable pleasant folk/soft rock. Rounding a 3.5 down just because that feels right.

I really liked this. The combination of minimalist synth and bluesier stuff was a lot of fun. And it feels different that pretty much anything I've heard. Kraftwerk+Arcade Fire or something? Anyway, I doubt this is everyone's cup of tea, but this was great for me. I've never heard of this band and their significance is completely lost on me, but I'm glad to have been introduced.

Wow. Supertramp is one of those bands that has always been on the periphery of my interests but I’ve never given them a real shake. A ton of really cool sounds and pieces. I’m not sure I’m a big fan of the whole, but the musical ideas with which they play are all very interesting. Adding the musical complexity of prog with the more relaxed tone of something poppier? Excited to see more of them on later albums!

This album is nice. Gimme Shelter is obviously a perfect song. You got the silver is underrated and midnight ramble is very solid. I'm at like a 4.5 on this. Imma take the over.

Fairly unremarkable 60s era britpop. Looking this up, I guess it's "one of the first rock operas," which is neat. But the thing about rock operas is that I don't get them until listen several times, and it's unclear why I would do that here. Plenty of good riffs (balloon burning is fun musically) and some really nice transitions between songs (really cohesive album!), but the competition in this genre is intense, and this doesn't rise above.

I didn't know we were doing live albums here! I'm a fan of Ain't That Good News, but don't know any of his other stuff. This was nice. I've never been a huge soul person, just because I feel like it is too soft and smooth and I'm a little taken aback by such straightforward earnestness. But if you want smooth soulful earnest love songs, Sam Cooke does it about as well as anyone.

So, Take Me Out is an all-time banger. Would probably make a list of best tracks of the 00s, though I'd have to think about it. I was happy to see the album listed for today: "Oh I love that song, but have never listened to the album. Wonder how the rest is" And, uh, Jacqueline is good too. Darts of pleasure has a memorable last 20 seconds. But the rest of this album leaves much to be desired. And as I understand, we're rating albums not the best song on each album. And I doubt I'd ever listen to the album again.

Oooh early metal! As someone who likes metal but never really understood it's classic era, I'm always excited to learn more about this stuff. But this one is more a historical curiosity the anything that gets me really going. Several of these songs have stuff going for them, but they never come together quite right. The end effect is that I was a bit bored. 2.5 stars rounded up because of historical import.

I only knew Under my Thumb and Paint it Black beforehand, and everything else is fine, but unlike Let it Bleed, I think the non-hits are more filler here. 3.5 Stars, rounding down. A lotta misogyny on this album (even though Under My Thumb is a great tune), so, not sure what to do with that...

I initially thought this 1001 albums thing would be mostly albums I knew, because I'm reasonably into classic rock and interested in a wide range of genres, but when you do the math, it's 143 albums per decade (merging all pre-60s music as one decade, since the 50s were a little light and the 20s/30s/40s/ were pretty much just Jazz and Blues). That's a lot so I guess I should stop being surprised to see artists and albums I've never heard of. Anyway, here's another. I really enjoyed this. I listened to it on background (twice) so I'm not able to give specifics as to what I liked. Good solid well-built indie rock. Cohesive album that has tonal variation and yet sticks to a theme. Anyway this is great, but I wouldn't say anything in particular stands out such that it would be a 5.

I did not expect Slipknot on this list. Unclean vocals are good but in metal I generally prefer a mix of clean and unclean vocals, and I think they take a while to get to any clean vocals. Okay sulfur rocks. By vendetta, though, I'm just a little bored. Maybe its just my power metal fan coming out, but I thought the album could do with more range. Like, transgressive for the sake of transgressive only gets you so far. I love good metal, but they're just a little corny. And I typically like corny in metal. I'm a power metal fan who likes songs about Blade Runner. But something about this doesn't do it for me. It's much harder for me to articulate what I like in metal and what I don't like but this isn't it. Pass some Judas Priest or Sabbath, please.

Uh, Guilty Conscience is... a lot. I know that Eminem is famous for his transgressive style but, gee I dunno. This album ain't it. I like many of his singles, but I don't know why this album was chosen, nor do I like it very much. And the domestic violence on '97 bonnie and clyde. I know murder ballads are a thing, but it's too much for me. 2 stars because it's musically impressive at times, but it's just too much.

I really liked this! I usually gravitate towards music I "get" which this isn't quite. But this is excellent long Sunday afternoon vibes. 4.5 stars; I guess I'll round up because it's very different from other stuff which is a plus.

Soft sad boy music. I'm supposed to know Elliott Smith because he's a progenitor of everything I love in music. But I'd never at listened to him until now. This is very good. Ballad of Big Nothing is great. My own tastes usually prefer a grittier voice, but this is really solid stuff. Damn this whole thing is great. might pull me into softboi indie jams again

This isn't super "my genre", but Can't hold us down is pretty good. We'll see how this goes. Feel like its important to acknowledge that her vocal range and general vocal talent are off the charts, but I don't really think what she's doing with them is that interesting. The beats feel uninspired, the lyrics vapid, but at least she has pipes.

The first track is very centrally used in Russian Doll, which is a time loop show, so you hear it about a million times, so that was slightly jarring. Anyway this album is fun and light. Some great thematic contrast: Down was a lot of fun and very different from the rest of the album. Coconut was totally frivolous in a good way. I initial said three stars, but on a second listen I've convinced myself up to a 4.

Old rap is always a really cool vibe. Stripped down a little relative to the baroque stuff we get today (which is also nice). I would almost say it has jazzy vibes. Can I kick is a lot of fun. I am terrible at writing about music, but this laid bck vibe is really pleasant. Why does no one do anything like this now (or do they)? I can't really put my finger on what here is different: the beat is a simpler track, it's less produced? Something like that. It feels more down-to-earth. But long-story short this old-school album is great and I enjoyed it a lot. Did think it was a little too long. 3.5 rounding up.

I was initially excited about Black Keys, maybe the most straight white millennial man band of all time (in this respect I am typical for my demographic). And they're very good. but this album does less for me than El Camino and it's, again, badly in need of an editor to tell them to shorten it up. Especially because these songs want for variety in the first half. That said, this a pretty great garage rock. Tighten up? Banger. Too Afraid to Love You? Banger. Ten Cent Pistol? Banger.

I'm not gonna justify 5 stars because I think it's pretty self-evident--this is one of the greatest albums of all time. But Alex told me I should still write some thoughts. One thing that occurs to me is that this album works on so many levels. King Kunta is a fun top 40-friendly song, but it has enormous depth for those who want to plumb it. The interludes, backed up by jazzy something or other (I think Kamasi Washington), are clever and add a lot. On a lesser (but still great), the more philosophical stuff would be more separated from the broader experience. This is the perfect album to illustrate how far hip hop has come from Tribe Called Quest. Both great albums, but the minimalism of ATCQ stands in contrast to the over the top production of this album. Thundercat on bass, Kamasi Washington on brass. Every piece of this album is clever, thought through, and perfect. And the central poem as a organizing device for the whole album is inspired. I won't pretend to understand the full work. But this is what music, at its finest, is capable of, and it communicates something for which words on their own are insufficient.

I confess to not having listened that closely, but I don't feel like relistening, though I liked this. This is an interesting album--I don't think I know anything about intrumental (if that's the right word) hiphop. Cool beats, interesting compositions. This was definitely too long. No further analysis. My gut says 3 stars, but it's definitely a high 3.

I like the vocals here a lot. The instrumentation is very simple, but as yet, I'm unsure if that's good or bad. This is mellower than my standard stuff but it's put together well. I feel a little bad because I think he has a reputation as a lyricist, but I'm too busy to listen carefully to the words. Anyway, I liked this. Good relaxed folk. 3.5 rounding down, just because that feels right.

I, uh... huh. Lyrics are very superficial--unless someone else can point me to something interesting they're saying. Worse than that, they're trying way too hard. Beats are boring. To the extent this is rock rather than rap, the guitar riffs display real signs of talent, but nothing really special. It wants to do funk but others have done this so much better. 1.5 rounded up--this wasn't offensive to my ears.

Because of it's meme status, I think Free Bird is often underrated as a song. Simple man is country-southern ethics in a less offensive presentation than it often has. In general, I think the album tracks are quite good. I'm certainly not a big Lynyrd Skynyrd person, but if you're gonna make the case for them, this is the album to use (Sweet Home is trash).

Oh damn! I know their other albums a little, but I was ready for how nice this solid, blues rock would be. Think I like this more than the others of theirs I've heard. That said, the first two tracks set a standard the rest of the album did not live up to. It just mellows out a lot more than I'd like. Energy in the middle is a little lighter than ideal.

Didn't do much for me. Mostly didn't find it memorable. I could listen again and see if that changes things, but it's pretty meh 90s post-punk, I'd say. First song is good. 2.5 rounding up.

"Oh, fuck! Giuliani! He’s such! A fucking jerk" is a take that ages extremely well. Deceptacon is awesome. A good reminder that as much as I like the clash, I'm not a real punk. I know the amateurish approach lo-fi recording is a conscious stylistic choice, as well the kinda grating vocals, but they're not for me. Editing on my second listen: think this is true for Hot Topic and Cassavetes, but the rest of the album is not this way (But the "shout single words non melodically" technique on cassavetes very rarely works for me--not on Dude yr. so crazy!!! either). Guitar is pretty cool here though. The The Empty rocks pretty hard. Liked Phanta So okay, I liked this more on a second listen. Not sure it really would ever make my regular listening though. I really want to like riot grrrl. Maybe someday.

Well put-together album with good use of interludes. Feel like I'd have to listen a bunch more to really *get it*, but in principle, I like this a lot. A little mellower than my standard stuff, but maybe has a place in my listening. 3.5, rounded up.

So, first: the title track is one of the high points of rock history. Otherwise, this album is long but none of the songs are bad. I wouldn't say it drags, but I don't know that it's well served by it's length. The rest of the album is good to great blues rock, but the songs don't really stick so well. But Clapton is among the best guitarists so everything kinda works out. 4 stars.

Feels like the Beatles discovered some great new sounds but haven’t figured out what to do with them yet. Some all timers like Eleanor Rigby but uneven

Really like this album. Not sure why it never made the jump from "I really like thirteen and ballad of el goodo" to "album I regularly put on in full". It takes some classic rocks songs, but imbues them with almost childlike wonder that that the BritRock bands and the sarcastic/cynical/stoned other acts.

As I long-time reggae hater, it pains me to admit that this is really great. Don't know that it's gonna redeem the genre for me, but the one love/people get ready mashup was awesome, Natural Mystic was good. Just had a great time with this.

Dang. I've put out like 5 4-stars in the last week (only broken up by yesterday's 5-star). I guess I'm a kindly reviewer. And I'm not stopping now :( Loving the use of instrumentation on this. The horns are really fun, the beats are inventive and fresh. This album is a little long, but I don't really feel like it drags.

Oh man, the hits keep coming. Paranoid is an all-timer, War Pigs is great. All metal is at least a little corny, but this is so damn good.

Nice, laid back chill 60s vibes. Beatles before the Beatles got super innovative. And a little less talented. Easy to imagine this playing in the background of a chill spring day, but there's nothing here to elevate it above the mass of 1960s music. Hung up on a dream is aight

There's a lot to like here, but I don't know that it comes together as well as I'd like. I don't give bonus points for being from Ohio, but it is neat that we've got these folks. 3.5 stars, rounding down because I'm self-conscious of how many 4s and 5s I've given

I want to love this because I love their self-titled and many of the tracks, but it’s just a very uneven album. The weight and I shall be released are excellent pieces of the Americana tradition, but this album spends a lot of time with somewhat uninspired takes on classic tunes. Highs are there, but lows are very mid. 3.5 rounded down

In general, was pleasantly surprised by this entry. It rocks, pretty well. That said it starts slow, and never rises above pretty good. A little too much punky shouting , some of it kinda repetitive. My following of the lyrics was not super astute, but I’m gonna say 3 stars

Johnny cash’s preoccupation with death and execution has always been fascinating to me. He grew up in 1930s backwoods Tennessee, by all accounts a pretty grim world. Think he just really hails from a different world. Anyway, this is the best case scenario for a voice aging. Many of these songs (hurt, in my life) take on a wholly different meaning from an old man staring down his death. I can’t endorse all of the song choices (desperado and Danny boy are both a little tired), so I think 4 stars is about right.

No, I can explain what the difference is between good-corny (Paranoid by Black Sabbath) and bad-corny (Guns 'n' Roses). But this is bad. I thought maybe the classics would redeem it, but welcome to the jungle is just kinda gross (only Sweet Child is any good). 1.5 stars, thanks only to the strength of sweet child. But Imma round down because I did not enjoy this experience.

80s (and earlier) bands were horny in a way that I frankly don't really get. Like half of these songs are this way. Anyway this wasn't very good. On occasion I might listen to Jump but honestly not really. Everything else is corny guitar that, while probably technically impressive, doesn't really move me.

Someone will inevitably bully me for giving every Bob Dylan album 5 stars, but it will probably happen and I have come to terms with it. This is a perfect album that jumps effortlessly between serious personal introspection, bravado, and absurdist comedy. Subterranean Homesick Blues: The speed of lyrics here. This is the album where Bob Dylan went electric, and I'd say pre-Dylan folk was pretty much out of ideas. Maggie's Farm: What a way to say you're better than the music scene which birthed you. Love Minus Zero: Up there among the most underrated songs he wrote. It has this perfect way of contrasting attributes that aren't in opposition--"Some speak of the future/My love she speaks softly" Bob Dylan's 115th dream: "He said his name was Columbus, and I just said good luck" also "he gave me his card/said call me if they die" Mr. Tambourine Man: The most famous song from the album, does less for me than for many, but emblematic of the enormous range of this album It's Alright Ma: Nothing to add, just a perfect song. It's All Over Now Baby Blue: Bob Dylan can get into really heady philosophical stuff, but he's so good at writing simple songs about breaking relationships too. A neat thing about great music is it says so much more than can be unpacked in twice as many words.

I always say that it's too bad white listeners mostly know Marvin Gaye for Sexual Healing and Let's Get It On, giving the impression he's mostly about shallow sex jams. This album is mellower than my vibe has been of late, but it has a great backing music, really nice fusion of jazz and soul, and neat introspection about love and the disintegration of his marriage.

All really great arrangements of great songs, with a great voice to anchor them. I wouldn't exactly say anything *innovative* is happening here, but it's all good and very well done.

Before listening: When I first got into Parliament/Funkadelic, I tried to listen while studying. It was my first encounter with music that was too dancey to work to. Ever since then I've loved the *idea* of P-Funk, but my actual listening is rare. Also I'm sour I had to play this on youtube (especially because for a few minutes I hit play on my computer which didn't recognize youtube and played Otis Redding on top of it--me: "I don't remember them being so dissonant"). Anyway, I worry that my (and this group's) having listened to this while working will impact our ability to fully appreciate it. It's not work music Okay, now I'm listening: Less bombastically funky than other of their stuff, more mellow more a fusion of rock and funk, with some great extended riffs that are just jamming. Really cool mixing in of crazy rock-style guitar solos. A little too much aimless jamming for 5 stars, but a worthy entry nonetheless.

Love the backing track on the intro. This is kanye on production. I'm never really sure what to attribute to production v. the musician (i.e. how much of uptown funk is Ronson, how much is Mars?), but I guess you can see Kanye's fingerprints here, though common is a lot more restrained. I'm liking the duet on the second song. This is a nice middle between the maximalism of Kendrick and 2010s hiphop and the carefree laidback sounds of ATCQ. I thought Faithful was lyrically pretty engaging: the "what if god was a woman?" approach has been done many times, but I think Common does something neat with it. There's nothing transcendent about this album that would get it to 5, but this is a well put-together album that reminds me how good Kanye was at producing, among many other things. Common sounds pretty good (which is funny; I think of him a parent-approved rap vibes)

Some pretty great punk here. Also a lot of alcoholism. As a political program, this feels less like strident punk and more like primal shouting. As primal shouting though, it's pretty solid. Guitar is solid ,rocks pretty hard. You can't the lyrics that well, but you get enough, and they're often semi-coherent shouting anyway (complimentary). Runs out of steam on the back half a little. And TV party stinks. And the counterculture of the late 70s/early 80s was cooking. The way the pop art and angry-bitter art of this era separate is something to think on further

I gotta say: youtube with ads, really damages the music listening experience. Initially was worried this would be too soft-key for my vibes, but the instrumentation builds really nicely across the album. Minor place builds really nice. By the end of the track we're ready to roll. And we do! Title track kills it. Lots of other good stuff. Grim & pensive for the win. 4.5 rounding up Note: To anyone who endorsed Johnny Cash covering lots of songs. His "I See a Darkness" is absolutely worth looking up. American IV was in this program, but III, V, and VI are all great (people like Unchained, which is II, and American Recordings, which is I, as well).

Can't hear the Eagles without thinking of: https://www.youtube.com/watch?v=-JlmvtAHhnc Anyway, the title track suffers from its success, but unlike Paranoid or other heavily-played tracks, it's harder for me to see its virtues. Dunno why. Still okay, but it wasn't starting from high bar. Don't think I've heard the rest of this album. Don't think I like it much. I'm not opposed to dramatic schmalzy stuff but this really doesn't do it for me much. This is just very boring. They take the most boring of country and fuse in some of the most uninspired rock. 1.5 stars, rounding to 2. This was bad in a nothing way, rather than the offensively awful GNR. But this and Van Halen have similarities in quality.

Herbie Hancock is a name I of course know, but I'm not sure I could have identified anything else about him before todays listen. Really good funk vibes. That's always a win in my book. That said, 5 minutes into the first track, I am slightly concerned it's going to run out of musical runway. This is a great riff, but do I want it for 15 minutes? After the rest of the album, yeah it's fine. Maybe if I was a jazz head it'd be really exciting. But I guess I don't really get it. We had a funky one, then got progressively less funky and more jazzy, but I can't say I understand. 3 stars--I would never mind this playing in the background, but I don't really have much to get out of it in the foreground.

This genre (Hard Rock? Metal?) is one where I definitely have strong preferences, but I can't articulate what makes me like some things and dislike others. But this is doing nothing for me. Nothing here seems obviously incompetent. But I just found it a little empty.

Awesome. Has a modern lovers-esque edginess that fits smoothly relaxed vocals and weird off-kilter lyrics. Instrumentation is varied and well-done. Love giving 5 stars to a band/album I've never heard of. That's the best case scenario for this program!

Getting started. Song 1: a little too poppy and smooth. Vapid? Maybe. We'll let 'em cook. Alright, getting better on this second track. This album feels super uneven. Half the time it's the most boring radio-friendly rock, but then its got these wonderful interludes like East St. Louis Toodle-Oo. Basically, any time they're singing, it's worse, but intrumentals are solid. Bizarrely, all the most popular tracks are the worst ones (thought Night by Night is good and pretzel logic is okay). 3.5 Rounding down

Very nice, well executed soft music. Really impressive fingerpicking guitar. 4.5 rounding down, because while everything was very well done, it didn't blow me away.

Fine. Nothing here is bad, doesn't do much for me. I don't really have much more to say.