The foundation of grunge, though you can hear the other influences so clearly. I’m not a big fan of grunge and all these songs sound the same to me — muscle and testosterone. Good hooks, but they’re all hook, with no space to reflect and contemplate between the riffs. Still, Soundgarden influenced pop rock for a decade, which is impressive and probably led to something interesting. As an album, it’s just too 2-dimensional. It’s a 2.

Very danceable. Very early “girl power” sound. But very repetitive. Sounds like an “album of the summer” from whatever year. This would be fun as accompaniment to a party or on the dance floor — there’s no way I want to listen to it from beginning to end. And, now that I’ve heard a few tracks, I’m not aching to listen to them again either (as a listening experience). It’s a two — i did not need to hear this whole album before I died.

I do not like the scream I hear; I do not like it in my ear. Stop screaming young man; your voice is not nice. Your anger is so hot; I must put this on ice. I’d be really annoyed if I was stuck in traffic listening to this. It’s a 1. (Have i mentioned that I don’t like punk?).

Excellent musicianship, of course. Structure with no structure. I’m guessing this set the stage for great jam bands of the 70’s and beyond. But, in the end, jams are indulgent & you have to be willing and ready to go along for the ride.

This album introduces the REM sound. But they refine that sound in later albums. It’s a good effort, but here they sound like a very interesting and talented bar band that hasn’t yet figured out what its point is.

Another “here’s a new sound” album. Listening to Bowie is always interesting and a joy. But he hasn’t yet come into his own on this album.

Fantastic opening and closing with some high points in between. Not a “must have” as an album because it’s a bit overindulgent in places. It actually feels like the soundtrack to an interesting stage-play. Great, but not as funky as WAR can get.

Beautiful, musical, & sharp from beginning to end. Has a strong through-line (like an album should). Everything is Everything, and this album is everything. Desert-island album.

Cyndi Lauper can sing!! I don’t necessarily love her voice — but lady hits those notes, every time. This album so very creative & it showcases Lauper’s huge & diverse musical range — it could have been named “She’s so unusually talented” Also, the album made an important contribution to female empowerment in the 80’s through 90’s — not to mention its influence on the lgbtq movement. The album could also have been named “Everyone is so Unusual & Just Wants to Have Fun (show them respect)” This is a powerhouse compilation with some great songs. I’m not the target audience and, i prefer smoother vocal styles, so it’s not a desert island album for me. But this is creative transgressive and well executed pop music. Great album — much respect.

This album is politically active & eerily prescient. REM foresees the growing corruption of politics into warring factions weaponizing misinformation and the cynicism & disdain for political engagement that results. It may also (unwittingly?) encourage the anti-intellectual nihilism (“If you believe they put a man on the moon”) that started in the Reagan 80’s & came to define American politics in the 2010’s. If Murmur suffers from REM not yet having found its purpose, Automatic for the People suffers from the opposite — its delivery is a bit too “on the nose” and earnest. The lyrics are all audible, and in some cases, there is no effort to be poetic. This is a moment where an edgy band lost its musical edge for a moment. There is inspired music here, though. If you Believe is *such* a great song! A solid album that people should hear for its insightful political commentary — but not “great” as an album.

What you get when you mix whiskey, red bull, & misogyny in an angry & maybe not-so-nice “bro”? This gets a 2 (“Did not need to hear this but I got all the way through”). There are a few good grooves, and some interesting lyrics. And the album clearly inspired a decade+ of imitators. But, most of the tracks sound similar — guitars layered over a sinister bass drone (which never achieves the dark vibe of, say, Deep Purple) with gravelly-voiced dude belting out his anger/pain/wounding. They do a good job doing what they do— i can understand why this is an influential album — but it’s overwrought, humorless, and repetitive.

Sonic wonderland! Sharp rhymes, cutting insights, slick samples, non-stop rhythms with tight transitions. Serious messages wrapped in creativity and humor. What more can you ask from an album? An essential classic.

I can’t hear Ray Charles sing without smiling. And this album is influential because it was such a departure from Charles’s usual genre. But the arrangements on this album — all sweeping strings & stilted choruses — are super dated and out of place. The same kind of arrangement works and sounds so natural on the Billie Holiday album in this collection— but here, it’s a painful distraction from a great performer. It’s a 3 on the strength of Ray Charles’s singing and playing and on execution of the concept—reinterpreting country/western songs in a very different style.

So much diversity on this album that it’s hard to find a throughline. It opens with a great rap piece (Dance or Die) and migrates through some really smart R&B (Locked Inside), though it’s hidden under a too standard pop melody and production. Then we’re on to what might be a Bond theme (Sir Greendown) + some very proper-sounding British torch songs (Oh, maker). Symphonic pieces are mixed in with tunes that give Pharrel (Tightrope) & Outkast a run for the money. Definitely hear some of Bowie’s influence, which is well applied. It’s a lot. But, Monáe is so talented, her delivery is so energetic, and the production is generally so interesting, that it makes me want to stick with it and understand what she’s up to. It’s a high 3, verging on a 4 — but I might come back to this and raise the score.

How did i miss this growing up? I guess I was just put off by Ozzie’s shtick? (And I’m not a big fan if his voice). But man, this album rocks! Tremendous licks & great musicianship all around (but, Ozzie’s voice 🙄). Black Sabbath was clearly leagues beyond the many imitators that followed. Needed to hear this great album before I died (4⭐️), but not sure it’s coming to the desert island with me. But maybe…?

Nice sounds, nice songs. This album is in my core genre, but there’s not a lot that’s surprising about it. I like it (3) but, I’ll take Neil Young to the desert island instead.

Tasting notes include The Clash, INXS, Peter Gabriel/Genesis, and do i detect a whiff of LCD Soundsystem? But this doesn’t hold a candle to any of those artists. I could not get through this album, but that might be partially due to my current setting — if i was dancing at a party, club, concert, I’d might appreciate this sound. But, listening to it closely for musical entertainment, as a whole album, straight through — no thanks. (1). [note — this listening experience stuck with me in a bad way, so i had to come back to downgrade.it to a 1).

Some bangers in here. Production is highest level. The youthful flip flop between sexual naivety and aggression comes across as a little dated now. We’re living in a different world musically. A three for me.

You can tell this album is a 5 in the first :30 seconds

That voice! She could sing the phone book and it would be a 5. But it’s a great album in its own right — nothing is forced. Even the dated orchestral arrangements are on point and work well with her delivery. I can’t say how influential Ms Holliday has been, because frankly, there’s never been anything like her before or since. This is coming to the desert island with me. An emphatic 5.

A great concept album that’s well executed. The music is great too, although a lot of the pieces are there simply to move the plot along. Undeniably influential on rock operas and concept albums that followed (eg, the Wall).

Seems like a great and influential classic in the rave scene. Very interesting samples mixed over endless industrial beats. But this is not music for sitting around and listening to — it’s music for dancing. Hard to score against music intended fir a different purpose. I’ll give it a 3, but could be a four based on its influence in the club/dance/rave scene. Or it could be a 2 because you just can’t listen to a whole album of this stuff repeatedly.

Ugh. I hate this sound. I think the Smiths might be a major reason that I stopped listening to pop music in the late 80’s and 90’s. I mean, the instruments are played well and the underlying music is fine. But that crooning, preening, emo “tra la la,” talk-singing that is the same on every song is SO grating. Plus, you can tell the lead singer doesn’t care about the rest if the music as his vocals are disconnected from the rest of the mysic in almost every imaginable way (rhythmically, at the sound mixing level, melodically). It’s a 1.

Solid modern R&B musically, hi production value, backing lyrics that are straight porn. I don’t need the graphic play by play of sex acts with my R&B. Not sure what got this on the list other than shock value. I realize many many bands have nasty lyrics and themes — but the metaphors, word play, & double entendre make it more interesting than this.

Good fun rock and roll (Alternative Rock) Sounds like an (better) inspiration for the Rembrandts. Maybe it laid the foundation for the “Garden State” sound? Guitar work sounds very Boston (the band/album) to me. Also, the REM influence is clear, but with “surf rock band” energy.

Cartoonishly simple music and overwrought lyrics. Most songs sound the same and the others are barroom anthems. Lead singer has pipes, but almost all lyrics are spoken rather than sung. Still, it’s better executed than i thought it would be.

This is a great album — sounds better in headphones than i imagined it would. Good studio artistry happening here. Not really my style of music — over-earnest, overproduced, too poppy. It’s a 3.

Kings of Leon have a sound. The sound is layered guitars over propulsive rhythms. Sometimes they do really good things with that sound — other times it’s boring.

Important because… early Björk. Lyrics are kinda hilarious. She’s great and the music is interesting. But not sure I’ll listen to the whole album again. Afraid this is a 2. (Downgraded after listening to other albums)

A classic. So influential on the rap and rock that followed. Rhymes and rhythms are *tight*. On the downside, it’s definitely “of an era” that’s passed, so a little dated. But it’s still great! A 4. Will listen to it again.

A crooner, with an influential sound. Seems like the basis of a lot of modern country that i do not like, though this is basically just songs from a singer/songwriter. Doesn’t stand up against Johnnie Cash, Merle Haggard, or Hank Williams.

The Who really love the concept album. Unfortunately, their songwriting does not always reach the heights of their imagination. There are some gems here, and the sound effects prefigure autotune and digital voiceovers. I’m down with the anti commercialization, but I’m not buying this album. It’s a 2.

Cohen is a master songwriter. This album, written as he anticipated his death, is a set of observations on life and death that crystallize regret, sadness, and disillusionment. I’d call them sharply “cynical,” but his pain is too well earned to dismiss as simple disappointment. This guy lived a good life, with all the perks of tolerable levels of fame — if he’s seeing this much darkness, then what’s in store for the rest of us? These songs are a modern set of blessings for life and death — but the reality they anoint is a dark one. On the other hand, would he have bothered to write this album if he found no redemption at all in the end? Cohen is telling us how it really is at the end — or maybe (maybe) this is his final warning to us: Live life as if all life matters, or life will cease to have meaning at the end — cultivate the light, not the darkness. I can’t play this album too often, but I’d like it to be there for me in the darkest moments.

The musical definition of the phrase “take a chill pill.” Bombastic rap rock by bros that takes themselves way too seriously. One of these songs, with their multi-layered assault of power chords + hip-hop scratching might have been interesting. But a whole album? It all sounds the same — predictable and way too earnest.

Musically interesting. Mostly torch-songs. Worth another listen.

This album is extraordinarily creative music, laid over a blues-rock chassis. I feel like every rock/modern pop song i’ve heard since this album is somehow contained in these songs. Not all the songs are easy to listen to, and Vleit’s voice is not super pleasant. But this is good — really good!

In the early days of Pandora, I found that the playlist for all my stations would converge to the Black Keys. I liked what I heard, but never chose to listen to them proactively. Why?!?! The Black Keys are like Doritos for my ears — designed in some chemical laboratory in New Jersey to be the perfect mix of rock, blues, and soul. Always grooving hard, but remaining in the pocket. Nothing is forced. 5 stars.

A great album of fantastic songs. Dylan is unmatched in the song-writing department. But he definitely is matched in the singing department, which is why so many of his songs become popular hits when covered by those who can sIng. It’s a 4, for sure — almost a 5. But, I would only play this album once through, at any one time; I would not put it on repeat or shuffle. So, I’ll stick with a 4.

The sound track of my childhood, this album still generally holds up. Mostly great (though occasionally lazy) song writing, with inspirations from the Beatles and disco mixed with the obligatory sax that became a sonic meme for most of the 80s. Respect that Joel is a writer of tight songs, respectable piano player, and reasonably good vocalist — a complete package. On the downside, it’s hard to ignore the inflated self-image & bravura of a 20-30 year old boy here. This was a feature. Joel was speaking to the boys & young men of newly middle class suburban families who were, let’s say — dramatic romantic hotheads. The cheese was en pointe. The album is so influential that it became the model for much of the less well-crafted easy listening and lounge music that came after. But, in the end, this album is like a cuatro formaggio pizza — too much cheese. It’s a 3

Fantastic album. So creative rhythmically and melodically. Joyful. This is a four star.

Elvis is the Bob Dylan of the garage-pop genre. A truly amazing song-writer. He’s not a tremendous vocalist but he’s better than many and the passion he has fir his characters is obvious and endearing. This album lacks the recognizable hits on many of his albums — but he’s channeling Roy Orbison, REM, and others into his world of loveable ruffians. It’s a 3, but might be a 4 on a second listen.

This is really interesting music —orchestral, ethereal— and that voice is … something else. Everything, from the rhythms, synth landscapes, to strings, and vocals is well crafted & intentional. It’s not music i want to listen to every day, but I’m glad I listened to it (at least once) before I died. Rating this a three might suggest I’m ambivalent about it, — I’m not. It’s too engaging. But a four might imply that I “like” this sound and will listen to it a lot — I probably won’t (too much work). I give in — it’s a 4.

This is not good. The vocalist makes it basically unlistenable.

Here we have a very good Bar Mitzvah band in 1963. They play songs that are tight and arranged in the style of the day. But, if you strip away all that the Beatles do after this album, there’s nothing exceptional or highly creative here. It’s fine — there’s nothing wrong with it. But, aside from a few really fun tracks, there’s little about this album that I had to hear before I died. It’s a 2.

Many energetic performances here. But. it’s too much of the same thing — and that thing is angsty-anger. They have a particular sound and it’s a lot.

Energetic, creative, wry, and funny party music. But not the pinnacle of the Talking Heads art. It’s a 3 — might be good to listen again, when not on a plane.

Good and interesting music. Southern California morning songs for the Laurel Canyon set. Sort of a male Joanie Mitchell with orchestral arrangements (but not as necessary to my music collection as Joanie). 3 or 4, depending on the weather.

Electronica overlayed with French-fairy lyrics. Most of it is happening at the same pace — and it relies too much on the notion of melody as rhythm. It’s danceable, but it’s hard to take it seriously musically. A lot of noodling around for effect. 2

This is a good example of the modern R&B sound. Singer has a nice voice; songs sound good. Not sure why it’s an album i needed to listen to before i died, but now I have.

I think I’m at a disadvantage because (a) i don’t understand Portuguese and (b) this particular album was only available on YouTube, which sucks as a portal. But, while it sounds original and well-produced and the vocals are great, this is basically just a pop-album that seems to have led down the dark path to smooth latin jazz. Not something I really needed to hear in any language. It’s a 2.

I love The Band. But this is not their very best album — the Last Waltz is the touchstone for Americana. And I’m surprised the critics who made this list wouldn’t have put Music from Big Pink on the list, since that’s “where it all began” for The Band.

My ability to rate this suffers from my limited exposure to the form I’ve listened to Indian music for a long time, but I’m not a student. This music is so expressive, soothing, exciting. Always tasteful. Just beautiful— now I have a new artist to follow! Still, I think there are Indian musicians that I’d listen to before I listen to this album — Ravi Shankar, Roop Verma, and Arjun Verma come to mind.

Derivative. Derivative of some good stuff, so not objectionable really — just not captivating. It’s a 2 or a 3 — depending on the mood.

Kanye is a sick man. But that doesn’t change the reality that the music is the highest quality. Still I’m not taking a self-described Nazi to the desert island. The rhymes are political, creative, tight. The musical backing is great. Still the seeds of Ye’s illness are apparent. Between some if the amazing tracks, are lazy and indulgent tracks. At times, he’s riding the line between revealing the lives of his characters (eg, the kids choir — which is hella funny) and exploiting them. Looking back with 20:20, it’s clear that sometimes (eg, Slow Jamz) he’s mocking his subjects. He might not have meant that at the time — but that’s where it went. Too bad, because this Kanye is super-talented and has important things to say. It’s a 4 — would have been a 5 with some more editing discipline.

Indescribably fantastic. I have no context for the music. But every time i hear these ragas and Khan’s chanting, I smile. Must have this music in my life. Five!

Very good raw punk power. But punk is not my thing. Played like this, it’s just too repetitive at multiple levels. The pacing and rhythm are one speed. But it’s quality work in that genre, as far as I can tell. A 2.

You can wear this to work or to the club. Listenable and danceable. Sadè-like (but not Sadè, of course). It’s a 3.

I am simply amazed by how well it holds up. The craftsmanship is fantastic and its influence on rock undeniable. Unfortunately, so many albums, groups, and whole years of rock and roll attempted to replicate the joy & passion of this album but lacked the musicality, authenticity, and talent of the original. The studio work (arrangement, mixing) is impeccable. The harmonies soar; the guitar hooks groove hard, but remain unforced. A favorite & part of the desert island collection.

Electronica meets vaguely “world music.” Interesting samples and overlays. Good as cafe music, to create a vibe — or slower pieces in ecstatic dance, I guess? Creative and interesting enough to earn a 3.

Listening to this album allows us to hear Stills’ hard charging blues influence on CS&N. There are some good songs here — classic Stephen Stills funky guitar licks & a great rhythm section. His voice sounds good, though I’m surprised he had an old man tamber even this early in his career. But there are some duds on this album too — several not great “country” songs. And even the better songs sound familiar at this point. Maybe this is where the Stephen Stills sound started (?) but it’s a well trodden path. As an album, it’s a 2 for me.

Like air, there’s not much here. It’s listenable, usually inoffensive, and ultimately forgettable. It’s almost the perfect definition of a “2,” but sometimes it verges close to a “1” for repetitiveness & lack of creativity.

This is a really good album. Trip-hop and sampling aren’t usually part of my listening diet, but here, it’s mixed seamlessly with middle-eastern and Indian music. The combination is more than the some of its parts. The artist is very talented and i look forward to exploring more of their discography. A four (which might become a 5 with more familiarity).

Sounds flat, heavy—but not in a good way— and repetitive. The mixing is not great —“singer” sounds disconnected from the musical backdrop. And, the vocalist is mainly talking through the lyrics. A 2, but on the edge of a 1.

I’m not so into the burlesque sound of some of this album. But the blues tracks rock! I appreciate the creativity. Definitely want to give this another listen.

This is a fantastic album. An essential tool in the box for political advocates, the band synthesizes the frustration, anger, and critiques of punk, metal, & some strains of rap. Speaking of rap, the flow is unique — a staccato that is timed with the rhythm so the words actually hit you. The rhythms are propulsive and swaggering. While it’s political, this music puts you in your body. There are flaws. A few of the rhymes are lyrically strained. And this is not music I can listen to for too long, like I could have 30 years ago. But, it’s still essential and relevant — and it rocks!

Beautiful, complex, moving, juicy music. The artists are masters, fully in command of the sound and their audience. I could listen to this all day! A 5.

I love Johnny Cash. And this album really shows how big his heart and soul were. The connection he makes with his audience is intimate & empathetic. Musically, this is not his best work -/ it’s hard to get the best in any live venue performance, let alone in a prison hall. Also, the dialogue is all interesting and touching, but, if you’re listening for music, the talking becomes a distraction (think of listening to this album twice in a row). It’s a 3. I hope there are other Johnny Cash albums to review on this list.

AC/DC’s sound is iconic & their influence is immense. They set the standard for the bad boys of rock & roll. Some of their songs are fantastic, but others are repetitive and/or sound the same. The vocals are epic at times & just screechy at other times. This is a three.

I would give anything to have been at this show. The sound quality is great for a live show of that era and the band & Cooke’s voice are so perfectly tuned. Alternately joyous & moving. A five.

Filled with classic jazz/samba pieces. This is the soundtrack to a happy life. Five.

Provides insight into the origins of modern country & Americana, though i’m not sure this is the best example. The harmonies are great — the folk and gospel influences are clear. Good for studying roots of modern popular music, though, again, I think there are other better examples of the same influences. It’s a 2 or three.

This is really good. Club/party music is not in my wheelhouse, but FBS has produced an accessible, yet really interesting, album worth of beats, riffs, and samples that are designed to keep your dance floor hopping. It’s fun & listenable, very well crafted, and showcases the artist’s talent & sharp instinct for what keeps the flow flowing. Four.

Fantastic! Diversity of sounds; excellent musicianship. Fun!!

There’s a fine line between an album that represents a cohesive sound and one where the artist shows too much of their range & produces an incoherent set of (possibly very good) songs. This album demonstrates the other end of the spectrum: when the focus on the band’s sound results in a bunch of songs that all seem the same. The sound here is recognizable (probably because it was pouring out of every radio & speaker in the late 1990’s), but it’s hard to tell one song from the next. Testosterone-driven lyrics over a wall of guitar power-chords — got it, don’t need to keep listening.

I’m not the 30-60-year-old-middle-class woman demographic on whose concerns this album focusses (a slightly different group than the subject of her most famous song, “Angel from Montgomery”). But the songs are obviously great — lyrically, musically, and vocally. The songwriting artfully (though narrowly) skirts sappy sentimentality and stereotypes. And Raitt’s vocals and guitar playing are superb. The album holds together as a single work of art. My only reservation is that the album seems overproduced— I’d like to hear these songs as an acoustic set live, without the synthetic drum tracks and vocal backing chorus. I’ll always welcome a Bonnie Raitt song though — so it’s a 4.

Imagine being a band of great instrumentalists who jam really well together. All you want to do is jam out, trade solos, and ROCK! But, your A&R man says you need songs — you can’t just jam. So you write some songs , just so they’ll let you jam. Although two or three of the songs are really good — most exist simply to provide a funky base line & space for soloing. That imaginary band is Deep Purple. The guitar work, organ/synth, and base lines are propulsive & fun! Richie Blackmoore’s talent is undeniable. And, Ian Gillen is among the best Rock vocalists ever. Songs like Smoke on the Water & Child in Time (not featured on this album but one of the top 10 songs in the history of rock) are iconic. But most of the songs (eg, Space Truckin’) have no reason for being, except to organize the band musically. Unfortunately, the songs as a collective effort make this a 2.

Groundbreaking in the 1980s Hip Hop scene, those tracks sound dated now. But the fusion of street party vibes with international music is fun and lively— precedes and paves the way for the 90’s world music craze. Need another listen (airplane), but this could be a 3 or a 4.

So much fun! The rhymes are from a different era (and often a little juvenile). But the party vibe is timeless— turn this in at a party now and people will think: “that guy/gal throws a great party.” Will listen again when I’m not on a plane. At least, a four.

A great album! Cash is in his element in front of a prison crowd. Listening to this made me realize that Cash is best known for sympathetic songs about really bad people. It’s a little creepy that he’s celebrating murderers who “killed a man in Reno, just to watch him die,” for instance. But, I’ll leave psychoanalysis of American culture for sometime when I’m really Jonesing for a hit of depression. Jonny Cash is an icon, and an American Original — and this album shows us why. His voice, delivery, and personality are all on display. But, unlike the other Cash-goes-to-prison album(s) on this list, the music takes center stage here. And the music is great. It’s a four.

A masterpiece! Combines funk with the symphony to define a whole sound of the 70s. Will want to relisten because of airplane background noise. A four, for sure.

Marvin Gaye’s voice and signature sound always bring a smile to my face. But these are barely songs — more like musings that he’s chosen to sing and set to music. Not necessarily bad, but disappointing given the man’s talent. It’s a three, at best.

I really enjoyed this, my first exposure to Radiohead! I am told that their earlier tracks are overwhelmingly emo & self-loathing, an approach to music I do not like at all. But i don’t see much self-loathing here. The album has some very interesting songs, beyond the traditional molds for pop songs. It features polyrhythms & complex layering of samples and soundscapes. Very creative, engaging, and musical. It’s a four, for sure — but with more exposure, I might move it to a five.

This is great listening! Jay Z has superior skills in front of the mic, as well as in production. The rhymes and flow hit hard and the storytelling is masterful. My only complaint is that the range is limited to battle-rap & misogyny. I’m not offended, but I can tell Jay-Z can say & do more. It’s a four, but I wish it was a five.

Because of this project, I’ve learned that Def Leppard is purely derivative of Judas Priest. In some ways they might be better than the original because their hooks are better. But it’s pretty simple music with juvenile themes. Three of the songs are bangers, but the rest miss (particularly the first track). As an album, it fails.

Grizzly Bear is what happens when Crosby Stills Nash and Young join forces to write songs with Steely Dan that are performed by the Flaming Lips. The sound is not as good as those bands, but not bad — it’s highly creative and melodic, but lacks any hooks. A three for now, but could be a four if I became more familiar with the music.

The foundation of grunge, though you can hear the other influences so clearly. I’m not a big fan of grunge and all these songs sound the same to me — muscle and testosterone. Good hooks, but they’re all hook, with no space to reflect and contemplate between the riffs. Still, Soundgarden influenced pop rock for a decade, which is impressive and probably led to something interesting. As an album, it’s just too 2-dimensional. It’s a 2.

A Classic. Such a distinctive, soulful sound that has never been replicated. These are great songs, unlike the M. Gaye album i reviewed earlier, which was all his sound, without the song. A five.

It’s fine, often verging on good. But did I need to hear this before I died? No, I don’t think I did. A two.

This album is really interesting and creative. Not my kind of music — their sound is tortured, post-punk. But it’s clearly very well done and makes a statement. A three for now, but i may come back for another listen.

I listened to this album a lot during a very down period — it did not make my life better. Obviously, because I listened to it frequently, I won’t say it’s not a good album — in fact, it performs best because it is an album. But if i wanted to listen to the Lament of the Heroin Addict, I’d listen to Pink Floyd instead. This is a two.

On the border between 4 & 5. It lacks much of the mystery and depth of feeling of their earlier (but not earliest) work. Life’s Rich Pageant and Fables of the Reconstruction are, to my ear, their best albums. “The one I love” is such a tremendous merger of passion and cynicism, on par with “Boots of Spanish Leather” that it almost tipped the whole album into the 5 zone. But, there are definitely a song or two i could skip and i think it’s too straightforward to be an REM “5”. They can do better. It’s a four.

Has several hallmarks of music i don’t like. Techno, high pitched waffly male singer, etc. But this is really good! Seems strongly Bowie-influenced in a great way. Despite its techno roots, this album is (intentionally) underproduced and sounds homemade/DIY. Also, the tracks have a high degree of musicality, which I appreciate— it’s FUN listening. A four.

I hate this album. I am actually angry that I listened to it. I like Paul Simon, and previously regarded him as a savant. But this is pure trash! This album actually sounds like it emerged as a joke, or a dare (“you can’t write, record, and produce an album in under 5 hours”), or as a threat from his accountant (“You’re broke! Put out an album, STAT!”). The first song is about his allergies. I shit you not. It sounds like it was written by a pre-teen. And there’s an intensely earnest instrumental section and a guitar solo that are completely at odds with the lyric. Then there’s the song about writing a song that sounds like it was made up on the spot. Several other songs are total dogshit. The title song is very good, and I’m told it’s about his failed marriage to Carrie Fisher. It’s endearing and thoughtful, but it cannot save this album. The only mitigation for this monstrosity is that it is the album before Graceland (which is brilliant) and, if you see it as warm up finger exercises for that album (the characters and storylines are similar), then maybe it’s ok that he put this utterly awful collection when he really should not have. Why it’s in the 1001 list is really beyond me though.

I had fond memories of singing ABBA with my dear departed mother on long road trips. I wanted to like it again. But i do not like it now. The songs are trash. Overly serious for such mundane and even silly topics (“i kissed the teacher;” “dancing queen”). The lyrics are simply dedigned to rhyme and scan — the story they tell is often internally inconsistent (“there us nothing we can’t do” & breaking up is “the best I can do”?? — weak!) & always delivered as if everything depends on *this one song*. There’s no snap to this pop — it’s all hyper-orchestrated and soulless. I guess they harmonize well enough. A two bordering on a 1.

Troubador with a good voice and sweeping orchestration. Couldn’t make heads or tails of it and will need another listen. But i didn’t hear anything that made me want to give it another listen. It’s a 2.

Over -earnest, over-wrought vocal of affected lyrics. Orchestration, similar, though some pieces jam a bit. Overall, annoying.

Supertramp have a sound —springy organ synth, choral harmonies, loopy 58-pound weakling lead singer— that I don’t hate. But even though each song is internally creative, they all sound similar — that Supertramp sound is pervasive. This whole album, while somewhat entertaining, sounds derivative of itself. It’s like every song could be in a sonic sequel to Tommy.

I can’t find this album anywhere. I listened to a few tracks. Good DJ’ing. Good jams. Don’t know that I’d want to hear a whole album as a sitting experience l. But i give it a 3 — provisionally.

Interesting (and early) electronica. Great for dancing, good for the gym. Not really sitting-around-listening-to kinda music. Three.

Why did no one tell me that Hole is this good?!? I had the impression that Courtney Love was just some Kurt Cobain hanger-on. Why? Oh yeah, because white men (most music critics) pay a lot of attention to other white men, overstating their talent and importance on the regular. This is better than any Nirvana I know (and granted, I don’t have much Nirvana exposure). In fact, f—k the comparison to other bands. This is epic in its own right. Courtney Love’s vocal and guitar performances SLAY and the rest of the band is up to the task. Excellent drumming; driving bass. The style outside of my usual tastes, which makes how impressed I am even more impressive. A revelation! A solid 4.

Killer! BIG’s flow is not just a complex mechanism for delivering lyrics (and it would be legendary, even if it were only that), it is his message. That flow, that voice — it’s his instrument. The music here would get a 5. The skits in between the tunes are really important and tell a story, but they won’t improve on repeated listens. Not to disrespect the spoken parts— they are epic (though I could have done without the one with the sound effects of BIG getting down with his lady). But, those kinds of non-musical pieces are things i would skip if I put the album on repeat. It’s a solid 4, though.

Good, straight up rock and roll. It’s a little too loud and angry for me, but i might get used to that on a re-listen. It’s a 3, for now.

Easily a 5. Creative, so mysical, fun(!) and yet packs a message. I don’t know of another musician who dominates their genre the way Marley does. He defines the reggae sound, especially the upbeat musical themes. (A lot of reggae and Jamaican culture is much darker — as in “Them Belly Full”). A classic that I would gladly play over and over — especially on a deserted island.

Coldplay was inescapable there for a while. But I never intentionally listened to them. They’re good. The U2 influence is very clear (sometimes too much) — they’re like a happy version of The Verve, but better. This is really good though. I’ll listen to it again. A 4.

Really good disco album. Lots of fun and obviously worthy of the attention it got back in the day. Though the sisters’ family vibe adds a lot of charm and consistency to this album, I don’t think it pushed the boundaries of disco — just cemented it’s legacy of influence in the 70s and beyond. Good album! A 3.

There is 1 good song on this album, and you already know what it is. The rest sounds like it was written by 12 year olds who just learned a few chords on a keyboard. As for influence, it’s possible that this album was a breakthrough to the genre of wingey, woe-is-me, nihilist British bands that I truly despise. So, negative credit on the influence score. Don’t need to hear this album again and didn’t need to hear the whole thing the first time. It’s a 1

This is the kind of album that makes the distinction between a 4 & a 5 very clear. The songwriting and performances are excellent and varied. Yes, U2 has a sound — and at times (after this album) that sound might occasionally become repetitive. But here they mix up the singles-designed-to-chart with songs (Bullet the Blue Sky, Trip Through Your Wires) that galvanize the whole effort into a singular achievement, rather than just a compilation of songs. The Edge is a genius of layering guitar parts and rhythms to achieve an ocean of sound. Adam Clayton’s bass playing is impeccable; Larry Mullen Jr’s drumming is always tasteful, often driving the melody, ever on point. Bono can sing. Listening to it now, I realize that this is a road trip album, pivoting from very earthy songs (Red Hill Mining Town & those previously mentioned) to songs that express quest and epiphany. This is a great ride & a spiritual reboot. Makes me happy to give it a 5.

Good. Well constructed and well-produced. But I’m not sure how much i like their distinctive, laconic sound. This album seems a bit repetitive & I’ve heard other Wilco that I like better. A 3 for now, but I’ll give it another listen.

This is good. Really well-crafted songs that ache with loneliness. Sounds like The Shins and was probably influential on that whole turn-of-the-century sound. Very mellow & a bit depressing. It’s a 3, but might be a four on another listen.

There are some classic songs on this album. But the rest are mediocre. One pretty good song is structured too much like “The Boxer” from his S & G days — it sounds like he’s just working with a good formula to churn out modern Odysseys. Elsewhere, Simon falls into his habit of recording songs he really should have left behind or should have worked on to make them more compelling. The great songs are great, but a few great songs doesn’t justify a four for the whole album. Also, in comparison to his albums that have brilliant songwriting throughout (Bridge Over Troubled Water; Graceland), this album is just a 3.

This album is quite an accomplishment. The first three tracks set an incredible mood — truly amazing. There are some weaker tracks on this album, Cash is not always singing, and all the songs are covers— so it can’t be a 5 in my book. But on the strength of the first three tracks alone (+ some other excellent covers sprinkled throughout) it’s a four.

This super-important album brings together generations of country & bluegrass artists. It’s the foundation of modern bluegrass, americana, and what remains of good country music in the modern day. For this, i give it credit. This is a double album and it’s long. The music is great, but in a way, it feels more like an encyclopedia than a great work of fiction — a resource, rather than a single work of art. Some of the songs are fantastic though. As a “sit down and listen to this double album all the way through” experience, this is a 3. As a resource and historically influential giant, it’s a five. On the whole (and because it really is a compilation of different independent artists, not a cohesive band), it’s a 4.

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Queen is great. This is a Queen album. But it’s not a great album. All the elements of the sound are here, including the quirky interludes. But here, the sound hasn’t congealed into a masterpiece. It’s dramatic and fun of course, just not as fantastic as Queen can be.

Unremarkable, although it seems to be a precursor for bands like the Cranberries, on the one hand, and Coldplay, on the other. But they’re not as good as either. Not offensive, but didn’t need to hear this. A 2.

Very danceable. Very early “girl power” sound. But very repetitive. Sounds like an “album of the summer” from whatever year. This would be fun as accompaniment to a party or on the dance floor — there’s no way I want to listen to it from beginning to end. And, now that I’ve heard a few tracks, I’m not aching to listen to them again either (as a listening experience). It’s a two — i did not need to hear this whole album before I died.

I’ve known about VU forever and heard and loved Sweet Jane, etc. But I always avoided diving in because I suspected they were too “arty” for me. So i was pleasantly surprised how much I loved the first few tracks on this album, and, of course, Sweet Jane. It would have been a strong 5, but there were a few parts that were too experimental for me (i don’t go much for atonal, in pop music). It lands at a pleasantly-surprised 4 — I’ll definitely listen again.

These rhymes and rhythms still sounds fresh and really fun. They are complex and thoughtful, but the groove emerges organically. The message is timeless (unfortunately) and important — sometimes (rarely) the message doesn’t fit within the rhythm and the rhymes are a little forced. Really a great album. A four — but could potentially be a 5 if i listened to it enough to become familiar.

An amazing performance by two iconic (and egomaniacal) geniuses. This is platinum-standard stuff for any jam band or funk performer. Slight downgrade because of the dialogue that’s a part of most live recordings— and the fact that you can hear the tension between the two marquee names in Fela’s comments (hushing the crowd after he intro’s Baker, giving a sing he “wrote for Ginger Baker” a derogatory title, … etc). A very solid 4.

The lady has pipes! She goes for it. I appreciate that. This is an album full of torch songs designed to feature Adel, and the instrumentation is broad brush and not too complex. The songs are mostly good, a few are really engaging. But this is not an album I’m gonna listen to straight through again. It’s a 3.

Jeff Buckley’s music is more engaging & better executed than his father’s music. He’s got a strong voice with great range & his songs are less self-obsessed — he’s revealing his inner world, and it’s full of the pain that is in many lives from time to time. Highly relatable. I hear the precedent for Gavin Degraw and other muscular male musician-vocalists. I hear Freddie Mercury as an influence, which is interesting. I’m sure this album is a crossroads of influences and influenced. But there’s something that doesn’t fit — something is forced. It’s not bad, i should listen to it again. A three.

This music is simple/simplistic; the lyrics are also simple/simplistic & often forced. The delivery is very consistent — disaffected, can’t be bothered; nihilistic. I’m glad there’s music for every crowd. But it’s not my kind of music. I’d prefer not to hear this album or almost any of the individual songs again. It’s a 1.

Better than I thought it would be. In general, the musicianship is very high quality. The drumming, in particular, was impressive. Mostly it’s a steady diet of speed metal with overwrought and preening lyrics on top of guitars on top of guitars on top of guitars There’s a little variation in the pace of the songs, but not much. All in all — I’m glad I listened to it and it’s legit to claim that one should hear a great speed metal album before they die. Now that I have listened—I won’t need to hear a whole album like this again (except that there are probably more like this in the 1001 list). It’s a three.

Wonderfully fun. Bowie is in peak form as a crooner. This is a 4.

I’m not a fan of punk, but this was musical and interesting. The band is really tight and talented. I enjoyed it more than I thought i would. A solid 3.

I do not like the scream I hear; I do not like it in my ear. Stop screaming young man; your voice is not nice. Your anger is so hot; I must put this on ice. I’d be really annoyed if I was stuck in traffic listening to this. It’s a 1. (Have i mentioned that I don’t like punk?).

This is really creative. I did not like the first track at all — lyrically annoying. But by the end of the album, I was grooving on their fast, self-reflective and revelatory lyrical delivery. The music is good too. It’s a 3 for now, but might be a 4 on a second listen.

Elvis is a great songwriter and performer. He takes tried-and-true rock-and-roll motifs and adds nuance and complexity. His lyrical cleverness is unsurpassed in the pop genre. Always enjoyable listening. This is a 4.

Chrissie Hinds is a queen and the band is excellent. Some of the songs are a little too in-your-face for me — maybe I would have gravitated to that sound when I was younger. But, many tracks are just brilliant lyrically and melodically — and when Hinds’ delivery lines up with the right song, it’s magic! There are some absolute classics here — it’s a four.

This is a fantastic album — full of meaning and full of fun. The delivery is fast and smooth. The music is great. Sometimes the cultural references distract from the message. And some of the skit pieces could be shorter — but they are more entertaining than most rap album skits. Overall, it’s a 5 — the second Lauren Hill album to make it to my desert island.

I’d heard of, but never listened to, the Pixies. They’re great! The music is a little on the edge for me. But, it’s creative and delivered with talent and confidence. Could be a three, but it makes it over the threshold to a four.

This is not music for sitting around and listening — it’s a very particular kind of (trance-y, rave-y) dance music. I’m not opposed to dance music, but, as an album, this super repetitive. Also, I wonder if music that’s supposed to move your body and help you reach a higher state can be produced without any physical instrumentation or live players? This is all concocted in someone’s brain, and then manifested in a computer/laboratory. As a result, it’s pretty sterile. I’m told it’s an influential album/band — a great example of drum and bass. I’ll give it a 2, but I’m not going to listen to it again unless I’m at a ravey scene.

Two of my favorite songs ever are on this album. Other songs are fantastic. But some of the theatricality is not for me on some days — it’s not always a five. But, I must have the album with me on a desert island. It’s a 4.5; what to do? I’ll give it a 4 for now. —> UPDATE: OK, that’s 👆🏼ridiculous, I would totally play this album back-to-back on my desert island, without question. I’ll go with a 5.

I’m sure this is brilliant and I’m just too much of a heathen to understand it. But to my primitive ears, it sounds like Wilson is trying way too hard (“Oohh, lyrics in the native Hawaiian tongue”) 🌺. And at the same, time, it’s very predictable. I’ll pass. It’s a 2 — maybe a 1, but he just died, so … 2.

I have loved this album for a long time, so it’s hard to disconnect it from youthful memories. This art-rock is so creative, fun, and of its time; I still love it. The musicians are exceptional, deftly and cohesively weaving together jazz & rock & elements of klezmer — the overall effect is serious, humorous, very sad, and often beautiful. Most importantly, they only got a little carried away with themselves & self-indulgent (on “Moon Child”) and were not gawkily theatrical like many art-rock bands get sometimes. This is a five for me.

This is a pretty good, important album featuring a young Rod Stewart. Noisy British garage rock (in a good way). It’s a 3.

I assume the album is a send-up mockery of love songs? Even at that, it’s super-over the top. The arrangement is all drama & the lyrics/vocals are all schmaltz. There’s occasionally some interesting music happening in the background. But it’s too much. The music could be a 2 but the overdramatic lyrics and singing make it, clearly, a 1. One song i thought was going to be good, devolved into silliness, with lyrics like “if you were a horse, i’d clean the crap out of your stable; if you were horse I could ride you through the fields at dawn…through the day, until the day was gone. I could sing about you in all my songs as we rode away into the setting sun.” 🤮 And “if you were a dog I’d feed you scraps off of the table, though my wife complains...” This is one of the better songs. In other words, it sucks. It’s a one.

Several classics on this album. Also several forgettable songs. Some of the more artsy tunes sound like he didn’t want to write something meaningful or enjoyable. Very Andy Warhol. I’ve become more of a fan of Reed and the Velvet Underground through this challenge. But, as an album, this one gets only a three.

I’m usually not a fan of squeaky, avant- garde jazz. So i was surprised by how much i liked this. This album has structure and direction and some incredible sac playing (and harmonizing). Not my favorite music to listen to, but I can see why it’s on this list and I’m glad I heard it. It’s a 3.

This album has a different sound than “Only by Night,” which I reviewed earlier. But it’s still mid, at best. Very repetitive, within its own sound. This album may be more misogynistic than that other album — I can’t remember (which says something). I’m sure there are great albums (5s) with lyrics that are even *more* demeaning, but the lack of nuance in the repetitive delivery of the not-so-good vocalist renders these offensive lyrics really just offensive. I’m annoyed that KoL has two albums in this list. I did not *need* to hear this or the previous album. This is a 2.

Straight blues-rock. The band is obviously influential and has withstood the test of time. The musicianship is exceptional and the non-lyrical parts are the best parts of the album. Clapton is talented, of course, but here, it’s hard for me to separate art from the narcissistic cretin who created it. The music’s strength is mitigated by the vocals. The singer is fine — hits the notes, mostly — but his voice is wavering and high-pitched/falsetto, with none of the gravitas or gravel I appreciate in really good blues/blues rock. The singing is humorless and unsexy. Put the same lyrics in Robert Plant’s mouth and it might make you blush; Mic Jagger’s tongue-in-cheek delivery would make you smile, despite the misogynistic lyrics (which are characteristic of the genre). But, here the lyrics come across as leering, stalkerish, and creepy. On the whole, this is a super influential album; presumably that’s why it’s on the list. But I’d rather hear the amazing guitar-driven blues-rock and great vocalists that came afterwards. It’s a 3.

I’m not a Beastie Boys fan. The sound of their voices and bombastic delivery is usually a turnoff. So, I was surprised how much I enjoyed listening to this album. I learned that the BBs signature includes delivering lines in unison, as opposed to solo or in harmony. Also, their use of samples is very creative and fun. But the nasal voices still irritate me and the delivery is too consistent and repetitive. It’s really the samples & beats that distinguish their tunes, not the flow. Still, I enjoyed it and the BBs were clearly influential in 80s/90s rap. It’s a solid 3, for me.

Merry Clayton’s vocals on Gimme Shelter are so scorching, so era-defining, i could almost give this album a 5 without listening to the rest. But i wouldn’t do that … (The Stones are in peak form on this track too — after all these years, it’s stunning!). I’m more familiar with later versions of some of these songs. Country Honk is an early version of what becomes, Honkey Tonk Woman. — this slower version sprawls a little, but it’s really good. Mic’s vocals on Let it Bleed are initially too affected, as a man from the US south. Chill out Mic — people dig your voice even if you’re not originally from blues country. This take on Rambling Man rambles a little too much at times, but makes up for it other times. Monkey Man is an underrated banger. You Can’t Always Get What You Want seals the deal. Definitely hear the Joe Cocker influence here. (It’s interesting that the two strongest tracks on this album feature back up vocals prominently). This is a 5!

This is truly an amazing album. Almost every song is a classic. I listened to CCR a lot in my younger days; and the musical protests and social critique are apt for today’s stormy social climate. Today, I don’t think I’d listen through the whole album by choice (much less repeat it every few days) — Fogerty’s iconic vocals grate on my nerves a little. With much respect to the songwriting and performance, this is now a 4 for me.

Such a beautiful album. Relaunched several careers for these amazing Cuban musicians. Ry Cooder deserves a Nobel Prize. A must-have on any desert island. It’s a five.

This was really good and interesting. Folk-inflected post-punk. Really excellent musicianship. Could be a 4, but i’ll have to come back for another listen. I’ll go with 3 for now.

Fishbone is nothing if not eclectic. They’re really talented and their music is wide-ranging, and hyper-energetic borrowing from multiple genres. But that becomes a problem for this album — it’s so sprawling & trying so hard to be edgy, that it’s hard to tell what the point is. Why are all these songs on the same album? In some cases, the band seems to be trying to be weird— it’s like fingernails on a chalkboard. There’s a lot of talent here, and even more ideas — too bad they didn’t have a producer who could focus all that energy. As an album, this is a 2

There’s no doubt Aguilera can sing. But she does all the R&B tricks on every song. Some of them are catchy tunes — Fighter makes best use of her vocal acrobatics. But some are just simple & predictable vehicles for another dozen trills and frills. Pretty boring after awhile. Lots of drama (too much) in this R&B-light, early girl power album. But props for singing about her Puerto Rican pride in Spanish — not necessarily a marketing gimmick in the early 2000’s. It’s a 3, based on the strength of her voice and two pretty good songs. Probably should be a two.

Q: What do you call it when grunge is all cleaned up and well produced by people who have their shit together? A: The Foo Fighters They’re talented and this sounds fine. But it’s not something I’ll come back to again and again. It’s a 3 (maybe a 2).

The Who are the band equivalent of the 98 lb weaklings who get picked on and then they go into body building and learn Karate. Awkward, violent, prep school boys, with something to prove. Unfortunately, they’re enmeshed in the system they’re trying to rebel against— prey in the spider’s web. They’re the kind of boys who are sad and isolated and who take it out on the nearest stray cat. Which is not to say I don’t like The Who — I do. Pete Townsend & Keith Moon dominate the speakers with unmatched rhythmic intensity. They sound great. But the lyrics and song structure — awkward, striving to be the bad boys, but using the language and manners of middle class British Society. God save the queen! Once, this would have been a 4 or 5 for me, now it’s a solid 3.

This was my first listen to the whole double album. It’s really fun, for a while — but it’s a bit long and starts to drag about 1/2 way through the second side. Production & creativity are top notch. The flows are spotless and varied — influences from Jazz R&B psychedelia— super funny! I’ll listen again But this double album gets to be overindulgent at points. After awhile the fixation on gIrls and relationships gets boring. And, though it’s funny, sometimes they’re trying too hard for the laugh line. It’s a little forced. The time investment means I wouldn’t spin it all the way through immediately after playing it. It’s a 4.

She uses her voice to great effect; the backing music is simple and minimal. Some of the songs are good, but most are sappy.. I wont be mad if someone wants to play it, but i wouldn’t play it myself again. As an album, it’s a 2

This is not my kind of music, but i respect the creativity and i can hear the influence this band had on music that came after. The lyrics on some songs are really bad. But other pieces are really good—the anti-fascist number is right on time, these days. Respect. It’s a 3.

The Doors annoy me. I think they’re overrated. Listening to this album made me realize that they would have been a good blues band. There are a few good tunes here. But the circus-organ sound kills the vibe for me whenever it arises. It’s a 2.

Really energetic and lively, but with a punk delivery, which is not my thing. I’m listening to get away from aggressively cynical, this is that. Still, there are some wonderful moments, and the sound is iconic. The instrumental pieces and songs with female vocals, I will listen to again. High quality recording and mixing — everything is clear as a bell and not a muddled mess (I’m realizing how much pop music suffers when the mix is not right for the music— here, it is). I probably won’t listen to this whole album again (usually a 2). But it gets a 3 for creativity, authenticity, energy, the occasional memorable moment, and the quality of the mix.

An exceptional album. I’d heard Nick Drake before and liked his sound. But i feared it would become cloying over the course of a whole album. It didn’t; I really enjoyed listening to this album. The tunes are varied, within a cohesive framework. Drake’s singing is a little high for my tastes. But i might get used to it — he’s not forcing anything. An easy 4, but i can see this becoming a desert island album after a few more listens.

Great songs, great singing. Emmylou Harris’s voice is sent from heaven. Many songs on this album have been re-recorded and made famous by others. I think it’s more than meets the eye. But sometimes the sound borders on church camp — potentially grating, a little reminiscent of Donnie and Marie. I need to give this another listen. It’s a 3 for now.

My first experience of really listening to the Queen B. She’s incredibly talented, great vocals and nice flow on the raps. The production value is off the charts & the rhythms are varied and interesting. But the subject matter —lust & drama— is for a younger crowd. Also, it doesn’t sound very empowering for women, which is interesting coming from such a powerful female presence. I love her voice and rhythmic intuition, but i’m not likely to listen to this whole album again. It’s a 3.

This is genius. A truly exceptional album. This was a favorite during my early college days. Care free good times for me. It’s impressive how fluent he is in different genres (jazz, gospel, blues, folk-rock) and more impressive how he blends them. Morrison creates a genre of his own here. A desert island mainstay. It’s a 5.

I like this. I’d never intentionally listened to an Arcade Fire song before. The music is big, symphonic and sweeping, but not overdone or maudlin. The songs have rhythm, energy, and meaning— they’re a bit dark and brooding. I’m interested to hear more. This is a 4.

If the Rolling Stones trued to imitate The Clash, but Mic Jagger wasn’t available, it might sound like this. It’s interesting, but I won’t play it again. It’s a two.

Speed metal — it’s not my favorite. At all. But, I’ll give these guys their props as they seem to have been major innovators in the genre. They’re obviously talented, even though they use their talents to make unpleasing noise. I should give them a two (i don’t like it), but i can see why this should be part of a list of pop music that you “must hear before you die.” (Phew, glad I got that out of the way!). It’s a three, but speed metal that comes later will not fair so well.

I just don’t like the Brit Pop sound. This band sounds pretty self-absorbed, which is par for the genre. This is a 1, for me.

This album has some of the Eagles trademark tunes. They’re bangers. If any of any of those classics come on the radio, I’m singing along and tapping my toes. But listening to them back to back diminishes them. They’re a little too perfectly planned; they wear down over time. The rest of the songs on the album are mid — there’s a reason those filler songs aren’t in heavy rotation. Overall, despite the classic hits, this album isn’t that special as an album. It’s a 3

Simone’s voice and presence are commanding. Many of the pieces are beautiful. In the end, there’s a little too much drama in the presentation, which feels a little stiff. Still I’ll likely play this again and I’m willing to bet that familiarity will soften the few edges. It’s a 4.

On the one hand, this is a great album — as background music while preparing dinner for a hot date, for instance. It’s romantic and lyrical and spiritual. On the other hand, it’s sprawling, unfocussed, and indulgent— as romantic, lyrical, and spiritual things can be sometimes. It’s got few of the hooks and little of the songiness of Moondance. On the whole, I think it’s a 3. It’s great for a specific application, but not a very versatile album. It's a 3 for now. I’ll listen to it again & see whether familiarity gets me by the self-indulgent tendencies of this album.

I like R&B — it’s a genre where I’m easy to please (I’d rank any reasonably good R&B a three, at least). I like the sound and the ethos. But this is just not good. He’s got a nice voice. That’s it — that’s the best i can say. The album is amateurish. His delivery is terrible; forcing the words into the rhythm and lazily mumbling the key words and syllables. The musical backing is simple; the best that a producer with a bunch of Mac music programmers can deliver. Many of the songs are super-repetitive— they need editing (if not complete rewriting). This is a 1. I have no idea how it made the 1001 list, and many of the individual sings are annoying.

This is not the best live Grateful Dead album — of the mass marketed, readily available albums, I’d give that honor to the Europe ’72 double album. But this version of St. Stephen is powerful and commanding. And this performance of Turn on Your Lovelight is maybe the greatest live jam on a mass market offering. Starting the album with Dark Star is a losing proposition. It’s great fun at a show, but is not a good intro to an album for anyone other than insiders. Great performances don’t always add up to a great album. This is a 2.

Good. Interesting at times, but not that memorable (like I enjoyed listening to it while driving this afternoon, but it’s early evening now and I can’t remember anything i listened to). I’ll go with my 1st impression and give it a 3 — glad I listened, but it didn’t capture my interest.

No, Morrissey, you don’t “know how Joan of Ark felt.” You are not that important, or important to culture or history at all. You’re super-self absorbed, and it shows in your singing. Really too bad your lyrical delivery obscures the rest of the band, which actually sounds great. Smiths without Morrissey might be a 4. With Morrissey, it’s a 1.

I listen to albums while working out at the gym. Today, the gym soundtrack must have been titled “The Very Best of the Very Best Soul, Funk, and R&B” because they were playing double shots of Curtis Mayfield, Gladys Knight, Chaka Khan, Sly, Aretha, Ray Charles… it just kept going. Meanwhile, I’m listening to this electronica album. I don’t know whether to say it was a little ok, or a lot not good, but I could not ignore the comparison with the gym playlist… 😬 I took at as a sign and just stopped listening to this album after 3 tracks. Sorry Roni Size… thank you for playing. It’s a 1.

Really good! I’m sorry I didn’t listen to them earlier. Though i can hear that it might have made a younger me feel isolated and angry. Ozzie’s schtick turned me off. But he’s really talented. His delivery is great, especially considering that the lyrics are super simple — childlike. The musicianship is great; they create a mood that holds throughout the album. This is a four.

Ugh! This is terrible. Like someone trying to imitate Tom Waites’ dark burlesque sound — poorly. I don’t want to hear how “…all god’s children must die...” repeated for 5 minutes. This is a 1.

A very impressive debut album. Great songs, singing, and arrangement. I’m not the target audience of the character who’s singing these songs (seems to be a tough-as-nails, world weary, late-20’s mid 30’s woman, who’s cynical about love), so the lyrics all run together after a while. I wish there was a little more variance in the character. It’s a 4.

This DJ accomplished so much with his sampling and mixing. He nails every track and the tracks are so varied. A real achievement. Can it be that this is a 5? No, not quite. It’s really good, but a bit directionless aside from the hooks. It’s a 4.

A really wonderful and imaginative album. The songs sound deceptively simple, and I’m not sure what to make of the overall theme (though it’s certainly more resonant now than it was when it was released). I’m torn as to whether it’s a three or a four.

Can confirm— Graceland is (still) genius. Easy 5. The musicality and complexity within and across songs is extraordinary on Graceland. These tunes are mostly not confined to the standard song structure that is Simon’s bread and butter. These are musical narratives; the album is a travelogue of songs. It’s a stunning accomplishment. I cannot fathom that this album was written/performed by the same artist who wrote the self-titled “Paul Simon” (a 3 for me). Certainly this is not the same Paul Simon who released “Hearts and Bones” (a 1, in my book), although the characters and plots overlap a bunch. I’m guessing he did a lot of mind expanding drugs to get from Hearts and Bones’ “Allergies” & “Cars are Cars” to sublime creations like “I Know what I Know” and “Diamonds on the Soles of their Shoes”. Either that, or we have a “Paul MacCartney is dead”-level conspiracy on our hands! Or maybe, a washed up post-Garfunkel Paul Simon met a fiddling demon at the Crossroads, and made a deal?!?

This is fine, but not in any way exceptional. Singer sounds a little like Lou Reed, and is probably doing his best impersonation. But, like Lou Reed, he can’t sing that well and, Lou Reed he is not. The band is good; the songs are ok. I don’t know why it’s on this list. It’s a 2.