Well it's right there in the album name, Layla...and other side pieces of songs. Crying on the floor? Check. In love with his best friend's woman? Check. Reading about Clapton's troubled life made more sense after listening to this. I like Little Wing, but found out later it's a cover of a Jimi Hendrix song. It's still a good lead up to the iconic Layla. I felt like I had to wade through a lot to get to Layla, but by that time I was too broken, I was almost on my knees. The Layla guitar intro is so hype/Clapton's guitar work is great and almost picked me up though (hence a higher than 1 rating). This album would have been way more enjoyable as a transient live blues bar jam show.

After taking a "musicology of the 1970's" course in my senior year in undergrad, Wire became one of my favorite bands. I listened to Pink Flag on repeat back then. Now, more than a decade and many life transitions later, it's back. And it's amazing. I am in awe that this is their debut album, and that they paved their own genre of "post-punk" in the already nascent years of mainstream punk. This album is for professional haters who like their social commentary with a quick, rapid-fire bites of dry humor. And it's for haters of PDA/big displays of emotion/how modern society portrays romance sometimes. There are no fillers here. Yes, all 21 tracks are masterpieces. Though short, each track is like fully submerging into a experimental ocean of sounds. I love the color and number motifs. And how some tracks just abruptly end when they reach a climax. Some favorites: "Reuters" - a great intro to how dark and dry this album is. Great commentary on news/media and our attachment from atrocities/fall of humanity that we consume on our screens. "Three Girl Rhumba" - one of the more fun songs with a cool progression. Feels like playing a game, magic trick, or trying to solve a Schrodinger's cat like puzzle, with all of it to just become chaos at the end. "Pink Flag"/ "Commercial"/"Straight Line" - I like the sequence of these three tracks, with the title track describing a dire scifi level of destruction, followed by an instrumental jingle, then followed by a destruction of self and our carnality ("Brazil" is kind of like this too). "Strange" - another silly song with a heavy crunchy guitar that REM expertly covered. "Mannequin" - the ultimate hater song, but a good commentary of the lack of real substance that is pretty prevalent. Upbeat. "Champs" - I like the driving guitars with a slight tinge of something scary around the corner. Lyrics can have meanings on many levels, including sports, living recklessly, or living with a need to win that can lead to death of self. "Feeling Called Love" - a silly parody of love songs. "12 X U" - very punk. Ok, listening to this album led to a deep dive into all things Wire.

What a maximalist indie darling. Lots of nostalgia from high school days. Favorites are Neighborhood #3 and Wake Up.

This was not a smooth album for me, had to take multiple breaks. I suppose it's avant garde because of some of the discordant lofi guitar riffs and primal scream therapy? More like a high concept art project and not much substance aside from some of the mummy issues. I can see why it's pivotal and gives insight into who John was, but not my fave. My favorites from John are when he goes into slightly more uplighting ballad mode, like "Love" or "God"

I liked Van Morrison's voice and his homage to jazz/blues greats like Ray Charles, but the musical genre fusion and instrumentals really stood out the most. Overall, I enjoyed this!

Had never heard of this group before but I can see the threads of this album to the current indie lo fi scene. Definitely grew on me.

I'm surprised at how much I enjoyed this - actually had this on repeat and I only knew Supertramp by their three biggest hits before listening to this. I'm not the biggest fan of the vocals, but it really worked with the desperation in some of the lyrics. I prefer this prog flavor of Supertramp, even with the pop piano and guitar flourishes. Favorites: "School", "Hide in your shell", and "Crime of the century." The title track is so timely and introspective, the sweeping melodies sound like a budding antihero growing out of the ashes, love it.

sure, there are big hits here that are almost like cultural touchstones. but most of the album is nothing special compared to what actual blues artists create.

nice background prog rock listening. i especially enjoyed the riffs and the compositions of "Old Man Going" and "Lonliest Person"

loved this proto-metal album. Child in Time stands out for guitar solo and the crazy vocal range in the "Ah-ahs", I find myself impersonating the Phantom as he commands Christine, "SING my angel of music" lol. knowing that the song is about the cold war and the BS of the time provides a smidge of comfort in tyring to understand today's nonsense.

"Paint it black" and "Under my thumb" are my favorite RS songs (despite the second one's lyrics, and I love the La Roux cover) but most of the album frustrates me. "Stupid girl" gets too cruel and too stupid. Still, I like this album more than Let It Bleed.

The album definitely feels cohesive and a single body of work with some nice instrumentals/strings (very 2000's indie style), but the minimal-range vocals and the plodding nature of the album don't do it for me. I found myself craving Lil Wayne for a weird reason. He released a much better album in the same year, but for some reason it's not on the 1001 albums list???

I liked this album more than expected (2.5 rounded up). I think it's because these guys are so dramatic and emotional, just so over the top in their expression. The beginning of the album starts out kind of rough, but then I start head banging? And then get emotional near the end?

Sorry, but just no. I get that Slim Shady is like a dark urge alter ego and that Eminem is going for shock factor, but this made me want to throw up. I guess I'm Zoe. The one plus: It is cool to see him start blossoming into his angry boy rapping flow that made him so good, with the standout tracks of Just DGAF and Still DGAF.

finally, music not centered in athe US or the UK. this is a delightful album where the artists not only show off their immense talent, but do it so casually that the music really does feel like hanging out at a club - either dancing, chatting with the locals, or in just soaking in the music.

this album brilliantly captured meloncholy and introspection and was huge for my teenage self. 3.5 rounded up

Surprised by 1) how much I like this, though also not a surprise because Christina makes her own mark in R&B (and some rock too!); 2) the mention of Britney from track #1. Christina was always such an amzing vocalist but perhaps her style was not as mainstream/groundbreaking/diva-status. She definitely has some nice surprise tracks in here, and I love her vulnerability

It's a nice album with the best "Without You" version. But mostly just ok generic rock to me, though the first track did make me think I was listening to the Annie soundtrack for a few seconds.

A Tribe Called Quest really shows off their sample game here, with tracks that give a great, relaxed vibe while also rich in storytelling. I enjoy this a lot.

isn't this what got him his pulitzer prize? it's deserved. kendrick truly is the goat. this album is a poster child of socially conscious and lyrical rap. the layers of meanings, the history lesson - not just in the lyrics, but also in the musical styles (jazz, parliament/funkadelic...) i remember when this came out and i was in grad school, grinding away at literally grinding of metal to characterize. i listened to this during the late nights of this task, and listened on repeat because it took me time to understand his message. those were some of the grad school moments that i cherish.

I was not familiar with DJ Shadow, but his influence is obvious - there is crazy skill to the complex art form of DJing/mixing, and doing it well. "Building Steam with a Grain of Salt" somehow hit me hard.

I really looked up to Devendra as a young teen as a fellow mixed culture/multiracial kid. But that was with his later album, Cripple Crow, which is soooo much better. I did not like his singing here - there were some flourishes of beautiful guitar work, but the vocals/lyrics/guitar/composition did not connect.

I appreciate the fusion of genres and how these guys are just jamming and having fun with their music. They almost have a defiant attitude in their approach to music, making them criminals I guess. And in this, they invite their listeners to join in the fun

I wanted to quit while listening to the first track, "Soul and Fire", but the album progressively became more interesting to me. Not necessarily in bangers, but really how the tracks melded into each other with this underlying sad tone in both the singing and guitars.

Really some fun, jump-on-the-bed head-banging riot grrrl punk that pokes jabs at yucky dudes (damn Giuliani, you have been a menace for how many decades??) and pays homage to legends and even childhood neighbors (Les and Ray) for helping Hanna and Le Tigre bring such a unique slice of women-led rock into the forefront. This album shows that riot grrrl is not just angry feminism, but can also be sensitive, snarky, energetic, and most of all, a pure delight.

this is a near perfect album for me. this album helped usher in a resurgence in r&b, which is doing so well now. solange has industry giants like lil wayne and q-tip on here, but i also love seeing a baby sampha. so many of the songs have beautiful melodies, are catchy in syrupy slow way, and have both introspective and social commentary. "cranes in the sky" is such a great calming anthem and escape for an anxious person trying to figure out their independence and identity out.

Well it's right there in the album name, Layla...and other side pieces of songs. Crying on the floor? Check. In love with his best friend's woman? Check. Reading about Clapton's troubled life made more sense after listening to this. I like Little Wing, but found out later it's a cover of a Jimi Hendrix song. It's still a good lead up to the iconic Layla. I felt like I had to wade through a lot to get to Layla, but by that time I was too broken, I was almost on my knees. The Layla guitar intro is so hype/Clapton's guitar work is great and almost picked me up though (hence a higher than 1 rating). This album would have been way more enjoyable as a transient live blues bar jam show.

This album has it all - amazing instrumentals (strings, sitar, big brass band), themes of loneliness and death, and psychedelic whimsical jams. Also had no idea that Got to Get You Into My Life was not originally Earth, Wind, and Fire.

It's cool to listen to the music that inspired REM and Replacements - the jangly rock that later groups just took to another level. I am happy to have been introduced to "The Ballad of El Goodo", "Thirteen", "Give Me Another Chance". and the "ST 100/6" outro.

Transcendent while also down to earth.

Ghostface is one of the best rappers of his generation, I like his style of lyricism and how he uses his almost shouting voice as an integral instrument in itself, especially when he vocalizes the rhymes. There's great production here, with a great use of samples. Listening to Ne-yo in the collaboration in "Back Like That" was a nice throwback - they don't make hip hop/rap like this anymore. However, I see a lot of modern kpop groups emulate the formula that make "Back Like That" and "Be Easy" so great.

maybe it's because im listening to this >50 years after release, but it is a little corny for satanic proto metal, but the foundation is there and the riffs are iconic. i can listen to planet caravan on repeat for hours.

Solid psychedelic album with many forgettable tracks for me. But Time of the Season is just so good and oozes sexiness. I love the keyboard/organ solos especially.

I like the idea of this way more than actually listening to this.

Aside from a couple tracks, this was very meh. I wish Helm had vocals on more tracks, his twang was great on The Weight.

After taking a "musicology of the 1970's" course in my senior year in undergrad, Wire became one of my favorite bands. I listened to Pink Flag on repeat back then. Now, more than a decade and many life transitions later, it's back. And it's amazing. I am in awe that this is their debut album, and that they paved their own genre of "post-punk" in the already nascent years of mainstream punk. This album is for professional haters who like their social commentary with a quick, rapid-fire bites of dry humor. And it's for haters of PDA/big displays of emotion/how modern society portrays romance sometimes. There are no fillers here. Yes, all 21 tracks are masterpieces. Though short, each track is like fully submerging into a experimental ocean of sounds. I love the color and number motifs. And how some tracks just abruptly end when they reach a climax. Some favorites: "Reuters" - a great intro to how dark and dry this album is. Great commentary on news/media and our attachment from atrocities/fall of humanity that we consume on our screens. "Three Girl Rhumba" - one of the more fun songs with a cool progression. Feels like playing a game, magic trick, or trying to solve a Schrodinger's cat like puzzle, with all of it to just become chaos at the end. "Pink Flag"/ "Commercial"/"Straight Line" - I like the sequence of these three tracks, with the title track describing a dire scifi level of destruction, followed by an instrumental jingle, then followed by a destruction of self and our carnality ("Brazil" is kind of like this too). "Strange" - another silly song with a heavy crunchy guitar that REM expertly covered. "Mannequin" - the ultimate hater song, but a good commentary of the lack of real substance that is pretty prevalent. Upbeat. "Champs" - I like the driving guitars with a slight tinge of something scary around the corner. Lyrics can have meanings on many levels, including sports, living recklessly, or living with a need to win that can lead to death of self. "Feeling Called Love" - a silly parody of love songs. "12 X U" - very punk. Ok, listening to this album led to a deep dive into all things Wire.

There are some nice covers and originals here ("Hurt", "Give my love to Rose", "Personal Jesus"), but these are still not as good as the original NIN/Depeche Mode songs. Most of the album is Cash's signature deep but off-key voice singing mediocre covers.

I think Cobain said it best when he said that GNR had very little substance under maximalist hard rock. The legacy of this album is now captured in obnoxious and cheeky Marvel and Marvel-like movies.

Definitely better than the GNR cock rock, mostly for Eddie Van Halen's guitar wizardry and the group's maximalist style that fused a lot of the burgeouning pop and rock styles of the time - synths, riffs, big hair. But similar to GNR, lack of substance.

Whew, what a stormy quiet storm. There is clear turmoil here layered in some smooth jazz and soul. I love "Sparrow".

At first, I was like, Oh no, another album of mostly covers (I was not a fan of Cash's album of mostly covers), but Otis Redding really brought something fresh and so dynamic to this music, ironically helped usher in our new understanding of soul music with older songs. I love the emotionally regulating trumpets and instrumentals that complement his voice.

This is peak P-Funk and a great companion to Mothership Connection. The album gives this energy of a collective with a clear vision of afro-futurism and unity. I would give anything to see the shows of that time, where yes, they were scat-obsessed even on stage (one of their guitarists, Shider, would only wear an oversized diaper), and even though Parliament/Funkadelic/George Clinton still perform live, it is not the same, and they are a bit SCAT(tered) in their booking and cancelling of venues (I have some recent experience tyring to go). Though some of the ideas seem outrageous and maybe just a shallow groovefest, there is a deeper sense of a connection of waste/rotting away and the earth. Maggot Brain (Hazel's guitar solo!!!) is my most favorite P-Funk output ever, and it is nice they included a live version on this album, along with "Think, it ain't illegal yet". When will we unite in our fun, sometimes outlandish/poopy ways, and rise up to the system that doesn't want us to think critically anymore?

Imagine you're a Chicago-area kid in the fall of 2005, sitting in homeroom, and the school is lit with energy. The White Sox just won the World Series, the ladybugs are clinging to the corners of the classroom ceiling, and Common's GO! is breezing through the radio waves while autumn air breezes through the window crack. The homeroom teacher pretending they do not hear the song lyrics. The other kids chatting about out how Kanye is about to the greatest rapper ever. And even though we are north of the city, some kids pretending they have street cred because they have family in the Southside. Common brought poetry, Kanye production, and that amazing intro bassline to a great album that gives walking on autumn leaves in the beautiful windy city energy.

I only knew Black Flag through "Black Coffee", an anthem for my drug of choice. But instead of fun, biting punk, this is more depressing, introspective, and angry - the chaotic and discordant instrumentals reflecting the torture in the mind and soul. It's taking hard rock and punk, and stripping it down to - tell us how you really feel, which can feel angry sometimes. the TV song has analogies to my favorite Pink Flag, but I like raw this whole thing is.

They are technically skilled, and the highlights for me are the times the guitars duel, like at the end of Hotel California. But everything screams corniness for me. I prefer more punk-laden social commentary, not this.

What gorgeous textures, instrumentals layered upon each other, melding into a funky jazz. Some instruments stretched and taken to layers I didn't know were possible, like the blowing into beer bottles with a groovy bass/ drums on top in "Watermelon Man", sounding like velvet weaving through lace. I'm definitely adding this to my music to listen to while writing playlist.

I enjoyed this way more than expected. Lots of 80's music had this weird dichotomy of going hard but also being cheesy? In general, I love the drama that thrash metal brings, and Anthrax brought it. Faves: "A Skeleton in the Closet" - what a crazy story and guitar solos "Indians" - good reminder of what America is really like, especially in light of Reagan politics of the time "Imitation of Life" - I enjoyed the screams, and I too hate plastic people, but it's too late, we are all made of micro-plastics at this point

Wow that took awhile. This definitely grew on me. I think I would appreciate the album more and the multiple versions of the same song with more listens. This is a nice change of pace from boys that really try to go hard. Really somewhere between a 3 and 4.

Overall, I enjoyed this, it was easy-listening soft rock. There were some interesting instrumentals here, like the intro flapamba in "Rikki" and the cover of Duke Ellington's "East St. Louis Toodle-Oo", relying on guitar wah-wahs instead of a brass section. Perhaps most of the tracks were a little too soft-rock/clean, everything was a nice mainstream neat package.

"Please, give me a second grace. Please, give me a second face." Belle and Sebastian got me through some depressive high school times, but I was not aware of Nick Drake, even though he did this 20+ years before Belle and Sebastian (and his music is all over TV/film). This was a lovely album, very pretty in the instrumentals, but not overly twee. This is one of those albums that would be great for a road trip through gorgeous forests/mountains while pondering life.

No one can sing like Joni Mitchell - she has such a unique style that is difficult to replicate, and she has some interesting stories/poetry in her lyrics. I enjoyed the build up in the title track, and how the whole album feels so 70s. But, it's a bit rambly.

I like this album slightly more than yesterday's Court and Spark for its heavier jazz composition. I respect Joni Mitchell's songwriting and genius, but for some reason, there's a barrier somewhere in which I just cannot resonate with her music as much as I want to.

I do recognize that I have a strong bias for albums that came out during my formative years, in this case, my early 20's, and that I may associate big life transitions and emotional rollercoasters to these albums, but danggit, Channel Orange did capture that for me back in 2012. The lyrics of unrequited love, turmoil in love, or the hypocrisy of the wealthy, all backed by some funky synths - all changed the r&b game and I loved it. "Thinkin Bout You" is sad and lovely, and such a classic, but my favorite is "Pyramids." I remember listening to this for the first time while driving in Cincinnati summer, and just going "whoa" during the mid-song transition.

It's difficult to deny the charisma and influence James Brown had, as evidenced by the screams in the audience (like how he croons "I believe somebody out here love someone" and someone shouts back "Yeah, YOU!!"). This album and live show set him up for his huge huge hits in the 70s which are pretty ubitiquitous by now. I see this album as a preview to those. And I'm sure this is like half of the artists on this list, but Brown was also a known abuser. It's unfortunate that he used his talent and fame to take advantage of the many women in his life.

I usually love some nu metal, but this was difficult to get through.

The album is mostly a snoozefest, even when trying to be loud and in your face. There are some interesting ideas here in the lyrics.