I like. Sometimes corny ("who's that guy again?... DEATH") but mostly jazzy and soulful early 2000s hip-hop.

Interesting to hear more of the Bowie discography, it's clearly mid career but was an enjoyable listen.

I like this album. I like Springsteen more when he's not doing his trademark mumble, and several of these songs were enjoyable.

We float is definitely a standout. It sounds different from the others and I like it the most. Very spacey and soft sounding. I went back and looked at the most popular songs from the album and was surprised that wasn't it lol.

Classic and an enjoyable listen.

That was a nice change of pace. I like the classic blues sound and that life experience can be heard in muddy Waters' voice.

This was an interesting listen- I felt that I could sonically hear it travel from the 60's to the 70's track by track. "Astral plane" had a sort of Doors influence in the keyboards, but I could hear the proto-punk as it got to "she cracked" and "someone to care about" and sounded like Velvet Underground influence. Among mentions of so many sound influences, I wish the album sounded more like it's *own thing* and less an amalgamation of other things.

Starting out strong with a song about fucking to get your day started. I enjoy her smoky deeper voice. The tone reminds me of Carole King. Surprised to learn she's English but the timing makes sense for blue eyed soul to break in the UK. The song structure reminds me of the temptations which again makes sense.

I enjoyed it as a whole album and experience, though no particular songs jumped out at me as stars. But it was fun and groovy and boppy.

This album is clearly in my bag, in that it is in the window of music time I love. I listened to the version with the alternate track "glamorous indie rock and roll," and that about covers it; that kind of music is MY SHIT. It's a great album. If there is any point of contention, it's that I feel that it's heavy with amazingness on the front end. It's *good* on the other end of the album but it's hard when the first several tracks are a murderers row.

This was a surprising listen. I really enjoyed the lyrics, which did hit in the gut when they hit. I can see this as a return to form for Bob Dylan.

I can appreciate this as a work of art in its own right that was important in it's genre of music. That said, it's not my personal cup of tea. I've never been a fan of thrash music, or any music where the instrumentation (while impressive) overpowers or drowns out the lyrics. It is also a product of its time and comes across SO 80's.

This album is a bit of a ride- it's different at the back than it is at the front. I'm not surprised that Maps became the wider known hit because it's the song that is the most radio ready and least thorny. My personal preference is the lighter, singer-songwritery side of the album. I'm glad to have said I finally listened to this entire album though I'm not sure I'll be spinning anything but Maps on the regular.

It was an enjoyable listen, but I'm not the correct audience. It sounds like a chill evening in a smoky jazz club in the 1960s, but I don't have much to compare it to because I don't have a lot of experience in this genre. I'm happy I know about it but would be interested to know how or why this is better than other albums of its ilk, would would take more time and effort to achieve.

This was a fun listen. It was an interesting mix of cultures and languages. Despite not understanding the various languages, I got the references and enjoyed hearing more about the rest of the world.

This is the last of MJs imperial phase where he could not do wrong musically and he was at the top of his game. Arguments can be made about splitting the criminal and their crimes until the cows come home. This is the last album where the disparate sides of the artist are still somewhat balanced- he's still the popstar du jour and a bonafide hit maker, but even within the album we can see him becoming increasingly lonely, suspicious and (one positive) a bit more world-minded. Unfortunately his darker sides and odder musical instincts start to win as time goes on. Or perhaps the world moves on? Hard to say. This is a foundational album of my childhood so it admittedly has a warm glow of nostalgia, but removing that, I think it's difficult for ANY album to have an unskippable tracklist; this album has that for me. I don't blame MJ for trying different sounds and producers later in his career, but I think he was at his best collaborating with Quincy Jones.

I liked listening. It was indeed a product of the time it was made but I enjoy the ensemble element and what each person brought to the mix of the sound.

I really enjoyed this album and it was one of the first I've listened to in this project where I felt that I would listen to it again myself.

This was some real acid rock hippie bullshit lol. There was a definite time and place for it, but it seems better to be playing in the background, not something in the foreground that you're focusing deeply on.

I enjoyed this specifically because it didn't feel like a "best of" album, as I've heard most of Bob Marley. It felt like a whole album. It was a good, fast listen, and feels like a cornerstone of the genre.

I like that this has a sound that isn't stuck in 1983. It has a freshness that isn't caught just in that decade. If I can offer a negative, it sounds a bit samey in the middle, before there are some tonal/tempo changes around "Gone Daddy Gone" (killer xylophone solo!) and the slower-paced "Good Feeling." This is an album that I always should have listened to, and now I'm glad I did.