1001 Albums Summary

I suspect a lot of listeners were introduced to Nick Drake when 'Pink Moon' was so perfectly captured in that ad for Volkswagon that ran in the early 2000s. It was my first introduction. Listening to this album years later it's pretty clear that lyrically this album is a bunch of the nonsense the Folk generation was writing in those years. The songs in and of themselves aren't terribly well composed. The only real memorable track is Pink Moon. And had he not cut his life terribly short, would Drake managed to make it into classic status and not relegated to the halls of one-hit-wonder? It's hard to speculate, BUT what I do know is this album is a complete vibe; a perfect listen curled up with a hot bevy on a cold autumn day. It's the vibe, people!

What an energetic debut. First half doesn't nearly hold up as well as the back half of the album which feels more polished and realized. But let's face it, Pretenders hinges on those deep tones of that one-of-a-kind voice from Chrissie Hyndes. With all due respect to her bandmates, she IS the Pretenders.

Nothing says I'm no longer part of a musical duo than posting a close-up of your mug in a parka as the album cover. This is Simon publicly announcing his new direction as a solo artist, and it couldn't be clearer from the reggae inspired beats of the opening track 'Mother and Child Reunion', just one of his legacy hits. The rest of the album is filled with pep and playful lyrics. There's no doubt this continues to forge the path of a masterful storyteller with music that forecasts the international flavor that would in fuse his music throughout his career.

Here's the thing...I didn't love this. But I couldn't help but really be drawn in by its concept and really far out lyrics. Musically the middling songs are just middling. But when the hits hit, it's a rocker. Suffragette City is a banger that's still stuck on the brain.

Metal with a lot of polish. The clean blends and multi-tracking make this a perfect listen on headphones. A handful of hits with a few new deep track finds. This was a pleasant surprise.

3 1/2 Stars. Solid debut with some groovy tracks. Shout-out to the session musicians that make this whole thing work.

I was never a Hole fan during my grunge days, so I wasn't terribly excited to revisit this album. But after all these years later, the sound actually holds up, while Courtney Love's voice is nearly as grating as I remember. There's even a few more tracks beyond the hits that sound pretty great.

Who knew half of 'Psycho Killer' was in French. Bouncy, light, silly but ultimately a pretty forgettable record.

THIS is why I love this project! Finding hidden gems like this Dolly album that I would've never listened to in a million years. Her writing is simple but earnest and heartfelt. Not to mention catchy as all get out. It's no wonder Dolly is such a nation treasure.

I'm not a fan of Live albums, but this put me in those 70s house party vibes with the smell of weed and Budweiser wafting in the air while trying to talk with friends over that Frampton guitar. Quality stuff here.

3 1/2 Stars: I'm all for the distorted guitar sounds of bluesy rockin' roll, but much like AC/DC, I could never sit down and listen to a full hour-long record of it for fun. Good for bits and bites and crafting a playlist, but a full length Black Keys "album" will never be a go-to for me.

I always thought I didn't like Wu-Tang and that's without having ever listened to them. Rap and Hip-Hop has never been my thing so I've avoided it. Where the hell has this album been all my life. Raw and Lo-Fi with nonsense skits and lyrics. Sorry I came to this record so late. It will fuel my workouts for years to come.

A wholly unique and hypnotic voice, it's unfortunate that Armatrading isn't more well known today than she was in her time. The songs on this self-titled record aren't necessarily "radio-friendly"; Her melodies aren't exactly ear worms, but the production is impeccable and the writing is honest and heartfelt. This has been a nice little find as part of this 1001 project.

3 1/2 Stars: I haven't listened to this album since my college days and it's still the same moody listen carried by Orton's unique vocals. The only downside is the album starts to sound "samey" after a while. To top it off it's got an hour runtime, so by the 30-minute mark I was ready to move on. Still, her sound might make a good first listen for the uninitiated.

It's not unlistenable, but it certainly sounds like a relic from a time and place. Lyrics touching on topics of War and Labor during 1980s UK is standard fare for the time. I favored the back half of the album where the songs are shorter and much more catchy. I appreciate being exposed to this album, but I certainly never need to hear it again.

It cannot be overstated how much of a juggernaut this album and band was when it came out. That raw garage band sound. The upbeat rhythms so sorely needed in the shadow of 9/11. But I never could REALLY get into The Strokes. There was a sort of NYC It-Band Pretentiousness that seemed to permeate their image and the hipster crowds that ate it all up. A silly reason to dismiss a band, but it all just kind of annoyed me. Listening back I appreciate their upbeat tempos, syncopated lyrics and general rawness, but it's still the type of record I'd borrow a few tracks for a mix tape, and not the kind of record I'd spin from front to back. Someday and Last Nite were the radio hits, but for me Hard to Explain is the absolute standout on the album.

Incredible debut! Took me right back to my college days where that incredibly sexy video for 'Criminal' played endlessly on MTV's TRL every afternoon. If Tidal has a downfall it's that the back half of the album doesn't quite stand up to the energy of the front half. This a record made for headphones. The production is so vibrant with it's strings and instruments, that's it's easy to not see (or hear) what's right in front of you. Seriously...for those saying this sounds the same, go back and intently listen. You'll be rewarded.

Johnny Cash has never really been my jam, and I just generally hate Live albums, so I'm already going into this with a bad taste. However, you can't help but hear that some sort of history is being made on this recording that It's at least an interesting spin. Love the prisoner reaction to the lyrics and interactions between songs.

I can see how 'Murmur' can be dismissed listening with modern ears, but in its time there's no mistaking this was a helluva debut. Garage band vibes with a pop underbelly. Lyrics that make no damn sense whatsoever. It's no wonder this was the grandfather of Indie Rock. 'Moral Kiosk' has to be the most underrated unreleased radio track on an album ever!

The Stones aren't generally my jam. I truly don't get their appeal and have always chalked it up to Boomerism-you-had-to-be-there sound. But 'Exile...' straight up sounds like a helluva fun basement party, and I'm here for it. Bluesy rock, playful lyrics. It all sounds like brewskis with the babes and bros with the stereo cranked to 11. They're still not for me, but I had fun with this.

In college, I played in a short-lived band called The Spazzo Funk Monkeys. 'Stir it Up' was part of our catalogue. I thought we did an okay job as a 4-man band of drums, guitar and horns. All this to say this was my favorite song to play as a Funk Monkey and is without a doubt the strongest track on this album. Unfortunately the rest of the songs sound like politically minded filler in a career that pumped out some of the absolute best reggae. I'll probably never find my way back to this record again. Those Spazzo Funk Monkeys, however...

A poor man's Modest Mouse. That seems harsh, but it's got that same playful earworm sound, but not quite as elevated. Light, digestible, but ultimately forgettable.

I'm being a little generous with my rating. I get how important this album is to Springsteen's career and it's place in Rock history, but even at 8 songs it all sounds so...middling. Born to Run is the highlight. and Jungleland is pretty great but sounds like a rip-off of a Billy Joel song. But the rest is just all so-so. I don't know. Maybe I'll revisit at a later date and change my mind.

I only knew the hits, but so many other exceptional tracks hidden within this album. And to learn Stevie played nearly all instruments on most of the tracks?! No wonder it's considered an all time classic.

2 1/2 Stars: Hard to believe this was the seed for Punk Rock. It's much more melodic and not quite as raw as I was expecting. Didn't love it. Didn't hate it. Probably the first album since I started this project that didn't elicit much of a feeling about it one way or the other.

Finally!!! I was wondering when I was gonna see a jazz artist on Blue Note with engineering from the great Rudy Van Gelder. And even though I'm not terribly familiar with Jimmy Smith, there's no denying this is great lazy Sunday afternoon listening. This is a great entry point for jazz -- not terribly heavy on the riffing and improv. Just enough to feel the back and forth and vibing. Bring on more from Blue Note!

So here's the thing...My initial reaction like many on here was to immediately dismiss this album as garbage. BUT if music is considered auditory art, then I've got to at least consider this as an art form. It may not be a Caravaggio or Picasso or Jackson Pollack, but it is a banana duct taped to a wall so it's gotta be for someone out there, right? I was dreading listening to something so experimental, but it's not 100% terrible and there are maybe 2 tracks that I find at least tolerable and listenable. Not for me, but I think I understand it's place in "music" history.

I don't think I've ever head a love song done as rap. Great flows. Great production. I could come back to this one for sure.

2 1/2 Stars: This has been a weird week for 1001 generator picks. Can you throw me something somewhat normal today, please?!

Great grooves, harmonies and musicianship. Half of these songs you'll recognize as covers or originals written by other artists (James Taylor, Seals and Croft, Doobie Bros.). Good tracks for a mixtape.

Pretty sure if everyone on Earth set their alarms to Shining Star we'd reach world peace fast than you know!

Stripped down garage rock/punk isn't my jam and I generally despise Live albums, but there's a lot of spirit in this concert recording from these grandfathers to punk music, that it's actually not half bad. It's raw, unfiltered, kinda messy sounding, but certainly not unlistenable. I doubt I'll ever come back to it, but I appreciate it for being in this collection.

There's some real clunkers on this late Beach Boys attempt at being socially conscious. There's a song that's an ode to caring for you feet. Seriously! And a homage to our oceans and how bathing pollutes them. Uhh...okay Hippie. But it's the back half of the record that really gets going. In fact, Feel Flows has to be one of the best Beach Boys songs I've never heard of. It's got some pretty out there lyrics, but the production and melody are incredible. All in all, Surf's Up is uneven, but the highs hit really high.

This has one best album covers of all-time! Although I had never actually listened to the album until now, I'm very familiar with the album cover which has stoked my curiosity for years. Not much for lyrics, but these songs pack a lot of badass funkery. This is a feel-good vibe record that will go firmly into my regular rotation.

I played Steely Dan when I was a jock on the radio ages ago, and for the longest time I just didn't "get" them. Then I stumbled upon their Live album and it all popped into view like one of those 3-D Illusion pictures. Donald Fagen, Walter Becker, and the whole lot are quintessential musicians and understanding that makes me finally understand their entire catalogue. The lyrics are somewhat goofy, and Fagen's voice isn't the greatest, but the musicianship is off the fuckin' charts, and it's all over Aja. I'm disheartened by all the negative reviews, but hopefully people will find their way back to Steely Dan over and over until they finally "get" it. Also, Michael McDonald on background vocals for the Win!

2 1/2 Stars: Listen, it sounds like a classic country album, but the lyrics at times makes it sound like a parody of a country album -- most likely earnest at the time, but plays differently for modern ears. I just don't know why anybody would choose this record when there are so many other elevated artists of the era.

I made it 22 minutes in and had to bail. It’s like listening to a homeless man beating on pots and pans and speaking gibberish. Who is this even for?!!

This was the age of MTV, Baby! Some real bangers on this record. And what's the deal with all these 1-star reviews? Are you kidding me?! Those Van Halen guitar solos, the tailpipe-imitating drumming opener on Hot for Teacher, David Lee Roth's undeniable charisma, the glorious synth solo on Jump? It's all so glorious and worth so much more than a measly one-star. Who's letting the plebs vote around here?!

5 stars for rhyming 'Romancing' and 'Fancypantsing'. 1 star for his inability to enunciate. 3 star average for average songs.

This swept me right back to TRL when Missy videos played back-to-back with Limp Biscuit and Brittany Spears and Three Doors Down. What a time to be alive! Timbaland beats, Missy's rhymes, this album is Phat! Could've done without the long, rambling intro and outro. It's really kinda silly and breaks the flow of the album, but whatever. Missy can do what she wants.

I had no idea the back half of this record (or side B of the vinyl) was a medley of many songs. That's what I love about this project. I've been learning so much about records I've been listening to for ages.

Undeniable sound and genius from Jeff Lynne. Production is impeccable. Pretty solid record front to back, but there is some filler inside. 'Summer and Lightning' is one of the best ELO tracks I've never heard.

2 1/2 Stars: This album sounds like the color beige.

Sure, the lyrics are a little simple like they were taken from a lovesick high school girls diary, but the tribal beats and orchestrations and Bjork’s one of a kind vocal shouting make this Debut a pitch perfect…err…debut!

I played the hell out of this album when I worked in radio years ago, and it's seared into my soul. That David Gilmour guitar hits those pockets like no other. What a record!

This is the type of music that probably plays better in a live setting that to sit and listen through a pair of headphones. It's all fine. Lots of energy, but pretty percussion focused in very specific niche of music (afro-cuban) that will probably only appeal to a certain audience. I enjoyed listening to it, but have no need to revisit this album anytime soon or ever for that matter.

Doesn't sound nearly as dated as all the other reviewers are making it out. Cohen is a definite vibe with his low, growl. Some decent tracks with the outstanding Everybody Knows as the highlight. A few forgettable considering it's only 8 songs long.

For years I thought this devil worship music, and to think all they wanted to sing about was the plight of the Native Americans. Who knew?!

What felt daring and important in its time comes off pretentious and depressing quite frankly. I've never liked Radiohead from their Beep-and-Boop era on, so I wasn't bound to like this. Come to think of it, I'm pretty sure I bought this CD when it came out, but never even cracked it open. I'm such a completist that way. I guarantee there isn't a soul alive who has a hankering to listen to 'Hail to the Thief' on a Saturday afternoon. Would be nice to see Thom Yorke and crew come out with a record lambasting their own authoritarian government at the present moment, but identity politics only works one direction, I guess.

Just my little gay self listening to 'Purple Haze' singing at the top of my lungs 'Scuse me while I kiss this guy!

This is giving 1970s me doing construction paper and Elmer glue crafts at my babysitters while watching Marian the Librarian on PBS and listening to her talk about the dangers of talking to strangers. In other words, it's a vibe. Good musicianship, but I'll probably never visit this again.

When this album's good...it's very good. And when it's not, it's just okay. The hits are the heights of Appetite for Destruction. Axl's vocals on Welcome to the Jungle are killer. And that Slash opener in Sweet Child O'Mine sends electricity to my soul. It's the rest of the record, the songs that didn't chart, that are just so-so. Regardless, this is worthy of this 1001 project.

They way I felt like I was shopping in an early 80s Brazilian mall listening to this record.

3.5 Stars: After years of playing the Stones on the air, and listening to classic rock radio, and hearing their hits on various playlists...I still can't find my way into this band. I've tried and I just don't get it. Their music's fine, but overall it's just not for me. Don't get me wrong. The writing on this record is great. And the hits on Beggars Banquet are the best in their oeuvre, but I can't help chalk the group as a whole as a "you just had to be there" type of band.

3.5 Stars: It's an ambrosia salad while smoking a Chesterfield at a swinger's party kinda album. I prefer my jazz with far more improvisation and riffing off one another. But if you're looking for something as more of an easy entry to Jazz music, you can't do any better than Jazz Samba.

Sade is the nightclub singer in an 80s film noir. Slinky, black dress, diamond earrings while singing over the saxophone in a smoke-filled room. Sade is a vibe, and if you weren't there, you have no idea how much this album and this sound dominated the early 80s. Sure, it sounds a little dated, but the instruments are tight on this record, and her vocals are sexy and unmistakable. This really was the certain sound of an era.

I've spent my entire life avoiding Black Sabbath mainly due to the myth (Not entirely interested in a band that bites heads of bats) and because "Hard" metal wasn't my thing. Happy to say this project forced me into listening to my first Black Sabbath record and it was...pretty good. Excellent musicianship and the lyrics were surprisingly insightful. I look forward to digging into more of their work.

Never heard of the guy so it was nice to get introduced to an artist I've never heard of. Lots of mid-tempo ballads with a Barry Manilow flair. Strangely his singing from stanzas and chorus follow the same the vocal inflections and notes with no deviating. At times, it felt like you were listening to the same lines on repeat over and over again. All in all, I'm glad I know about Scott Walker, but doubt I'll ever seek out his music.

3 1/2 Stars: Has the upbeat, earworm of Beatle-like pop of the era, but lacks the overall depth and polish. Still a lot of fun to listen to. Can't beat a full album of 2 minute pop ditties.

Not a lot of albums have a solid 5-track run of really great radio hits. Hot Fuss comes in hot and doesn't let up. It's just that the rest of the album is made up of 5 very forgettable and 2 moderately interesting songs. The sound of this band was so fresh at the time -- a sort of garage band edge surrounded by synths -- that it was almost a you-had-to-be-there kinda of musical moment if this record isn't connecting with you. Listening back it sweeps me to a particular time and place and it will always hold a special place in my heart.

A perfectly amiable classic country voice and album. Wasn’t particularly moved nor turned off, so just gets an average rating from me.

3 1/2 Stars: Bluesy ZZ Top is just as good if not better than their turn into Adult Rock in the 80s. Tres Hombres is a good mix of bangers and middling tracks. But c'mon...La Grange is one of the all-time great songs, rock, blues or otherwise. It's what makes this record.

I know nothing about the Velvet Underground, so I was excited for this to pop up in my assignment since I knew this was a blindspot in my music knowledge. Sadly, this was not at all what I had in mind. Slow-to-midtempo songs with repetitive choruses. Nothing entirely memorable while some tracks are just downright bizarre (The Murder Mystery). I'm not surprised at all this band doesn't get ANY radio airplay and never makes it to mix tapes. It's all so middling. Why does their reputation precede them?! Hopefully, I'll find out if I get another assignment for The Velvet Underground.

I'll confess, I only got to the halfway mark on this tome. I fully intend to go back and complete. This is a project! But I think a lot of the low star reviews are missing the forest for the trees here. Yeah, it's Fitzgerald and her silky beautiful voice is the star. But let's not dismiss the great American songbook of the Gershwins. Playful, soulful, undeniable songwriting here. And the orchestrations are top-notch. All 3 of these players bring this great project to life. It's a LOT to listen to all at once, but my journey through these 60 tracks has been lovely.

Wow! Tight production, tight playing. All the themes we expect from Stevie in Love, Religion, and the lived Black experience. It's just so damn good. This record was made for headphones. I will be coming back to this one often.

3 1/2 stars: Makes me feel like I'm back in Colorado in the early 2000s at the dawn of the hipster revolution sipping craft beer at Red Rocks. Not every song works but they'll all sound EPIC. It's their signature I guess.

I'm a Gen Xer, but I never made it around to listening to the Stone Roses in their day. Incredible how this 90s sound took me right back to my butt-part hair and baggy jeans and sweatshirt days. Solid record front-to-back. However, a little of that wall-of-sound composition goes a long way.

3 1/2 Stars: Honestly, I don't know if this is an album you MUST listen to before you die, but by the time you hit 'Connection' queues up, I'm glad it kinda is. Tight little 2.5 minute pop-punk ditties. Great vocals and tight production. A one-hit wonder with an album full of other gems.

Perfectly fine techno beats. Yes, the first two tracks alone equal 30 minutes of an 8-track album, but so what. Press play and focus on the task in front of you. It fueled my workout today. Thanks Underworld.

Shocked to find so many influences throughout, Blues, Raggae, Pop. End-to-end 3 minute catchy tunes, although Strummer's naggy punk voice kinda wears halfway through. I've only ever know their hits. Glad an intentional listen opened up this classic album for me.

Prog-Rock Libertarians with wonky time signatures, excellent writing and overall musicianship. What's not to love?

It’s as if I’m writing code in a Mumbai cafe. Lo-fi Indian beats. I always wondered if there were more beyond Brimful…the answer is not much.

Wow! All these years I thought I didn't like Elvis Costello, then comes this assignment and I'm floored. Lyrically weird and playful. Excellent compositions and a fun, mid-tempo record overall. A little overstuffed, but who cares? I'll definitely be revisiting this soon.

The power of this album is found in its release date. Dropping weeks after the Twin Towers fell, it was the perfect salve for a shocked, and grieving America mostly anchored by that opening track New York. 'Gold' takes me back to such a specific time and place and age, that I hold it so dear to my heart. It's got an incredible opener of 8 solid tracks. The back half of the album is a little middling and overly long, but still quite good. Ryan's career was never able to quite reach the heights of 'Gold', but this album was so terribly needed than all the unremarkable and unfair reviews on this site would care to admit.

I mean even the throwaway tracks aren’t terrible enough to throw away.

Production a tad overwrought and polished to appease those AC radio listeners, but that voice makes even the middling tracks on this record soar.

Never heard of this album or band and I'm Gen X. I'm sure this sounded right for its time. But at 16 tracks, interest wanes 5 tracks in. No wonder it's barely survived its era.

It's weird but I always hate the production they put on Sting's voice so it sounds like his breathy, upper level tone is singing into an echoey, empty hall. It's why I've never really liked The Police. But damn, can these cats jam. Great musicianship and even their deep cuts on this album sound fresh and exciting.

3 1/2 Stars: What a killer one-two punch with those opening tracks. Zero and Heads Will Roll are absolute, bounce on the dancefloor bangers. Sadly, the rest of the album never reaches those same heights. The audio equivalent of blowing your load early.

R.E.M. had a magnificent 5-album run starting with Green and ending with the highly underrated New Adventures in Hi-Fi, but Automatic For the People is the absolute peak of that wave -- a masterpiece in their oeuvre. Not much to add that's already been said a million times before, but listening to this album for the umpteenth time I hear really outstanding production front to back. I hadn't listened to this one in a while, so I was pleased to see it pop up as my daily assignment.

3 1/2: Listen, Sex on Fire and Use Somebody are soaring rock bangers carried by the crackly cry of lead singer Caleb Followill. I had this album back in the day and I never really dug deeper than those 2 tracks. But I was glad to revisit this record as this week's assignment. The rest of the album is pretty middling, but their are a few other standout tracks including Notion. I've lost track of the band. Are they still even making music anymore?!

Remember that friend from school who started teaching himself guitar in his bedroom and then started a band with some other friends a month later and now they're playing their first "show" at the VFW and excitedly shoving a flier in your hands cuz "you're gonna come, right? RIGHT?" Yeah, that's how Sonic Youth sounds to me. If there's a Master Key to understanding this band I'd love to see it because they make no sense to me.

It's kinda silly but this album has some of my favorite cover artwork of all time. Band on the Run is catchy as all hell and the production is tight, tight, tight. What's not to love about this record?!

This album came out when I was in high school and listening to its nihilistic (albeit amateur) lyricism, I can't imagine a record like this being released in this current age of the male loneliness epidemic. It's angry, and violent evil and hopeless. So let's set that aside, and listen to the music which is...okay. Aside from 'Closer' which continues do be an absolute badass track 30 years later, the last 3 tracks make up for what's a pretty not-so-great record overall. Interestingly enough, Trent Reznor's current foray into movie scores is the more interesting version of him, in my opinion.

There's a rawness and vulnerability in this late album from Cash. At 15 tracks it's also overly long. Not all the covers work, but damn, does Hurt hit just as hard as it did the first time I saw the video air on MTV at 4 am all those years ago. Also, administrators getting cheeky scheduling this the day after I received The Downward Spiral as my album of the day.

Hip Hop's not my thing, but this was a perfectly amiable album albeit a little long.

This is the band playing in every bar scene from movies in the early 80s.

Wow! I could take or leave Nick Cave's voice, but the poetry of the lyrics, the lush orchestrations, the gospel choir back-ups...It all blew my socks off even at a 90-minute runtime. I'll revisit this one in the future for sure.

We're talking a near front-to-back album of hits. Not just Fleetwood Mac hits, but the greatest songs in their catalogue altogether. So much fuckin' talent -- Mick's drumming on The Chain and Go Your Own Way give me goosies. Solid production, and an all-time memorable album cover. No wonder this is consistently a Top 10 record of all time.

Third Stevie album since I started this project a few months ago. Like I get it. Stevie’s one of the best. Can we get some more jazz please?!!

3 1/2 Stars: The second best Young album featuring 'Harvest' in the title. I almost feel like an appreciation for Neil Young is found in the you-had-to-be-there-in-the-moment. It's a unique voice, but let's face it, not great. The hits here are all-timers, but I almost feel like it's the tracks 'Alabama' or 'Words' are what make the record overall a little more interesting.

Another one of those albums that if you weren't there at the time you probably don't get. The grunge sound hit hard and fast in the 90s and Alice in Chains was at the front of the pack. Some surprisingly good writing here and the hits are really solid. It's just at 13 tracks that heavy, dark sound starts to wear especially with most songs pushing 5-6 minutes.

'Rehab' never did much for me, and because it was the lead single of this record, I only had a mild interest in Winehouse. It's really too bad, because if any other track on this record had been released I woulda been sucked in hook, line, and sinker. Lush production, and has their ever been a voice more suitable for a music style?! I wouldn't say I'm late to the game on Amy Winehouse. It's just that this project really forcing me to listen has made me a fan.

This album is like The Blair Witch Project -- Very low budget, lo-fi but effective. And like that movie, it's place in hip-hop history is notable, but not necessarily something I want to go back to all the time. It's a genre placeholder. A historical piece. And at only 7 tracks pushing nearly 7 minutes each, it's only good in bits and pieces.

Sounds like the special guest star band on an episode of Scooby Doo Where Are You?

Crazy good debut with poetic lyrics and a wall of sound that just sounds gorgeously epic. Wake Me and Rebellious are all time greats.

Not me waving a middle finger with one hand while holding my burning draft card in the other!

This to me sounds like the most accessible Steely Dan has ever been. A more "traditional" pop song structure. Short, Catchy and not as much time devoted to solos. The solo work is always what I appreciated about the band, so maybe this one isn't my favorite, but their skilled musicians and I'll listen to them any way I can get them.

That guitar sound spoke directly to my little Gen X heart. As a whole, It's all just kinda okay. I would've blasted the hell outta this from my Toyota Corolla back in the day.

Listen, I get the Rolling Stones in terms of their cultural impact and history. I get why their music speaks to a certain generation, but they just aren't for me. Even some of their best tracks don't move me one way or the other. I appreciate their music but at the end of the day I've determined they just aren't my taste. All that to say Sticky Fingers was okay, just like a lot of their music, for me.

3 1/2 Stars: A perfectly cromulent album. Nice harmonies and some clever writing. Catchy tracks, but nothing that really sticks with you long-term. It's perfectly...fine.

3 1/2 Stars: Heroes is probably my favorite Bowie song. The rest of the album is solid but never reaches the heights of that single. Brian Enos orchestral tracks are actually the highlight of the album for me.

Great vocals. Great compositions. Glad I found my way to this album.

Love the jazzy samba vibes, and although Astrud doesn't have the greatest voice, it tonally fits the sound and era. My only gripe is the uneveness of the tracks. One minute I'm touring the 1960s Italian countryside, the next I'm in a collegiate marching band...What?!! Anyway, It mostly succeeds and with each track at 2 1/2 minutes tops, it's a pretty breezy listen.

3 1/2 Stars: It's undeniable what a huge commercial and critical success Ray of Light was at the time. This follow up found our Queen of Pop dabbling in European EDM and it's really kinda strange on one hand, but pretty great on the other. Don't Tell Me and Music are highlights, but it's the dirty electro sound of Impressive Instant that gets me. I love this album as the marker it serves in my own life.

Activism disguised as some really great fuckin' afro-dance music. I prefer Kuti's next album 'Shoki Shoki', but really you can't go wrong with any of it.

What's this metal obsession with Wizards?! Great licks and Ozzy has a surprisingly good voice.

That 20 minute opener is a hard sell, but you have to remember it in the context of the age of vinyl where that opus played on one whole side of an album. It helps to know it's story before trying to decipher the lyrics of its sci-fi concept. The rest of the album is rounded out by some tight tracks with some truly exceptional musicianship. I didn't recognize and hit singles from the album, but if you enjoy hearing musicians excel at their craft, this is a great record for you.

3 1/2 Stars: The reason I'm listening through this project. Skunk Anansie was a band I've heard of forever, but hadn't ever heard a single song from. Honestly, it's just a band that never got radio play in the U.S. Glad I finally got this introduction. Excellent late 90's alt-rock sound with a fantastic lead vocalist. I'm excited to explore more.

My history with Blur started at Parklife, so visiting this early record was interesting. It's an odd mix...some nice Brit-pop although not many radio-ready hits. All in all, there's not a lot that's very memorable. It's almost like the album they play on the overhead in a used record shop.

You can hear something special trying to break out of the cliche' pop ditties they were pumpin' out in those days. Surprising to hear just how mid the filler tracks on this album are. What more can be said about a band studied to death?!

I don't know if I quite "get" The Band, but all in all these guys are helluva great group of musicians, and I can see why a concert film like The Last Waltz is considered one of the all time greats. I bet The Band was a site to see live. The Brown Album as a whole was solid. Couple of hits while the deeper cuts hold their own with a hint of silliness.

Lyrically it's all a little silly as writers were in that hippie dippie period, but damn, the playing here is 10-stars! And I loved all the wild stereophonic, Left-Right channel he was exploring with in this record. This is a great listen with a good set of headphones.

I think what a lot of 1-star reviewers are missing is context. This was 1 of 3 albums released just weeks following the fall of the Twin Towers on 9/11 that brought peace and healing to a nation that was left truly stunned and grieving what happened to them (Ryan Adams "Gold" and Bruce Springsteen's "The Rising" are the other two). Listen, all in all this isn't the best of U2 by any means, but this album pushes out a great run of 6 solid and highly catchy tracks, and rounds the other 5 out with the most pat and boring pieces of music this band has ever done. Regardless, this album is a memory marker for an important piece of American history and for that, I'm rating it higher than it probably deserves.

Why have I never heard of this band?!! Too Pop for Punk. Too Punk for Pop. Perfect little bite-sized nuggets of truly great music craftmanship. The Undertones is probably one of my favorite discoveries of this listening journey so far.

With a sigh, I had to hype myself up to settle into some antiquey rock-n-roll. Wow, did I have fun with this record. There's actual craftmanship in building out these ditties. And I'll give that lyrically it's all a little pat, but damn, that Buddy Holly voice is so charismatic. Count me in as a Crickets fan!

3 1/2 Stars: Generator needs some tweaking. In 2 weeks, I've received 2 Hendrix albums as an assignment out of a 1,001 options! At this point I should be good on good ol' Jimi for a while. Regardless Electric Ladyland is just as good as Hendrix has ever done, although the album was a little bit of a slog to get through. Some editing needed. But it also contains what are undeniably his greatest songs with All Along the Watchtower and Voodoo Child (Slight Return). A bit of a mixed bag overall.

It's perfectly fine. What probably sounded fresh and edgy in the 90s doesn't play as well with today's ears. Dummy stays in one gear over 11 4:00-minute (average) tracks. I'm glad I listened to it, but doubt I'll ever revisit it.

3 1/2 Stars: Who knew Ridiculousness would single-handedly rubber stamp residuals to Devo for all eternity?!

This is the Piano Man Billy Joel was singing about.

3 1/2 Stars: These bops are catchy as hell. That's undeniable. The record starts to sound samey after a while, but with tracks at 3-minutes and under it's no issue to get through the album.

One of the pillars of Alt-Rock's greatest all-time records. I love the drama on this record. The opening of that solo guitar before exploding into a wall of sound in 'Today'. The quiet breakdowns bookended by the guitar thrashing and drums smashing in 'Geek U.S.A.' and 'Silverfuck'. Siamese Dream has it all. I saw the Pumpkins in concert in the late 90s and Billy Corgan played the shit out of that guitar. What might sound as electric 'noise' has actual talent behind it. This hits all of my Gen X buttons.

This is the album version of that old adage "The more I drink, the prettier she gets!". Seriously, 'New Boots and Panties' starts off okay, but the deeper I got into the record, the more raucous, crazy and fun it gets to the point where I actually enjoyed Ian Dury's voice. All the musicians and song compositions are crazy good too. This was a nice little discovery.

3 1/2 Stars: There's a little bit of finger-in-the-cheek cheese about this 60s-era sounds, but damn, do these harmonies wiggle there way in and take hold. Love the whole stereophonic Girls to the left Channel, Guys to the right coming out of the speakers. Lyrically not a lot of depth, but it's still a fun capture of that 60s sound.

Me buying the Slim Shady LP from my local Wal-Mart unaware that they only sold and carried Clean Edit CDs at the time.

I could give or take Dylan. There's no traditional verse-chorus-bridge to his songs and songwriting. It's all verse after verse after verse, sometimes for 11-minutes and your mileage may vary for that type of "droning", especially for a man who's voice is not very good. And lyrically it's absolute poetry, but nonsensical for the most part. Dylan's a vibe and I'm either in the mood for it, or not, and Blonde on Blonde goes on for far too long, so that vibe be harshin' after a while.

I appreciate what Bowie was charting out to do here, and I appreciate the instrumentals on the back half, but I don't think this album lands as more than a curiosity through his discography. I mean truly, aside from the die hards, what Bowie fan is gonna dig this out of their stack of vinyl over something else? It's good, but doubt I'll ever find my way back to it.

If I was rollin' my tits off at a late 90s rave and this was on in the background, I wouldn't be mad about it.

3 1/2 Stars: Ol' Rod always seems to be the forgotten voice of 70s and 80s rock music. I mean, does anybody ever ask the person in charge of the music while driving in the car to throw on some Rod Stewart?! But, don't tell me when one of his songs comes on that you can't jam to it. That voice and some catchy hits over the years, it all works especially on a great mixtape. 'Gasoline Alley' is perfectly fine. A little bloated by the end of its runtime, but overall catchy and pretty unoffensive.

This is what I'm talking about! Muddy on guitar, Joe Cotton on harp, Johnny Winter runnin' the knobs. This is top tier, nitty gritty, gettin' down and dirty blues and I loved every minute of this record. I will be back to this one.

3 1/2 Stars: The Smiths have always been an enigma to me. They don't write earworms and avoid conventional verse chorus verse structure, so It's always been hard for me to "grasp" their music. BUT there's just something there that's a little mezmerizing. Maybe it's that Morrissey voice or that ethereal sound, but I'm kinda with it. Lot's of cheekiness in these lyrics. I guess what I'm saying is I'd never search out their music, but if they're on, I'd never skip a track either.

I worked in rock radio for a number of years. Not once did I ever play Thin Lizzy on the air. I've listened to classic rock for most of my life. Why is Thin Lizzy never heard from or known like their contemporaries. This band is tight and it shows on this live album. Not to mention that the guitar solos absolutely shred! 'Live and Dangerous' gets a little 'Long and Tired' at 17 tracks, but for most of it, I'm all in.

3 1/2 Stars: It'd been ages since I listened to this album, so I really appreciated revisiting it after all these years. The production is so tight on this album, all the vocals, all the instrumentation -- it just all sounds so clear. Lyrically it's a little wild, but lots of whimsy and poetic. A great talent that will be missed.

2 1/2 Stars: It's all perfectly fine. Yes, the covers sound just and silly as everybody here says. I'm sure there's a way to capture the Stones with a shredding sitar, but this ain't it. The rest of this album is pretty forgettable. I just wish it had the energy of that final track.

3 1/2 Stars: I was introduced to Badly Drawn Boy through the excellent soundtrack and score he did for the Hugh Grant movie 'About a Boy'. '...Bewilderbeast' doesn't quite live up to the tenderness of those tracks but it gets close. He doesn't have the greatest voice, but it's got an earnestness that's charming and there's some really genuine craftsmanship to these songs. My only complaint is at 18 tracks, the entire album never gets out of third gear. The whole thing exists in this 4/4 mid-tempo time signature that it could use a little more oomph breathed into it. Otherwise, a great listen.

The boys do it again! Solid listen front to back. Lyrics not quite as obtuse as Donald Fagen likes to get, but there's still some odd words. Musicians are tight, and the tracks themselves are a little more digestible and radio friendly, than the more jazzy odd time signatures of later music.

9 tracks of pure perfection. This is as much Quincy Jones's record as it is Michael Jackson. This is a great representation of pure master's working at the peak of their craft. It doesn't get anybody than this.

Catchy, 2 minute pop and rock bops from a nearly forgotten band of the 60s. A nice little band discovery that might make for an interesting insert on a playlist.

There's something about Drive-By Truckers that has the foundations of a great band, but lacks that certain something to be a memorable Alt-Country group. Vocals aren't especially memorable, and there's no great break-out guitar solos and thrashing over the course of 2 disks. The writing is great here though -- showcasing some gifted storytelling. I dunno...I didn't hate it, but I'll probably never come back to this.

It's perfectly fine. Not sure the importance of this soundtrack specifically as there are dozens of others I'd include waaaaaay above this one. Oh well, I haven't seen the movie so I don't understand how the music pairs with images, but it all sounds perfectly fine.

Takes me right back to my college radio days. How can I not be nostalgic for this Foo debut?! The lyrics are absolute nonsense, but the guitar crunch is solid. Hard to believe the Foo Fighters of today flourished out of this hobby project from Dave Grohl.

The illist. While I don't love every track on this record, it's always interesting and very listenable. I don't remember there being so many music-only tracks on this one.

You haven't lived until you were a 10-year old on roller skates gliding around the rink to Pour Some Sugar on Me. This is my youth!

It's not that there's anything terribly wrong with this record. I just can't stand that wall of crunchy, boring guitar sound with a tired voice over it. I found nothing interesting in 'Different Class', therefore it just wasn't for me.

3 1/2 Stars: One of those bands that was even a little too underground for my little college radio station I worked at. I wouldn't say there's any radio hits on this record, but the sound is still that great alternative singer/songwriter guitar sounds that permeated the 90s. Great lyrics, and the songs are the kind that play well on a mixtape. It's also the rare instance where the back half of the record plays better than the front half.

I'm hoping this is 1001's version of eating your veggies because at this point I've seen just about every Stones album show up in my assignments this early in the project, and here's the thing...they just aren't for me. They never have been. As far as Let it Bleed, it's 2 of their best hits bookending a lot of mediocre blues and country filler in the middle. It's all just fine, but I'm begging the algorithm, please, no more Rolling Stones!!

This album fuckin' cooks! 'Back in Black' one of the very best crunchy guitar riffs in Rock 'n Roll history. A real solid listen front to back. And considering this was recorded in 1980 it all sounds so timeless. A no-brainer this is included on the list.

It's a little self-indulgent with it's recorded conversations and 12-minute opus tracks, but the music -- the song craftmanship -- is really, really good. I can hear why this is considered an undiscovered classic.

One of the all-time great album openers of all time. I’m not entirely sure if I’ve deciphered the genius of Brian Wilson in this yet, but it’s a helluva record — even the mid-tempo filler tracks too.

Incredible energy from front to back.

2 1/2 Stars: Take on Me is a banger. The rest of the album...not so much. There's a few elevated tracks, but it's mostly forgettable middling music. Curious why it's even in this collection.

Honestly I was surprised this wasn’t more piano forward, but who can hate on 12-bar blues as bop and swing. If I were at the sock hop in 1950, I’d be grinding all over this!

3 1/2 Stars: Some nice riffing and although the album stays connected to it's African influence, I prefer my jazz in the BeBop lane. Regardless it's a nice introduction for me to a man I've heard of but who's music I never heard.

All these Karen's giving one-star reviews would shit their pants if Eazy-E ever made it on this list. He walked so Dre and Snoop could fly. Yes, it's all a little trite with its flows of drugs and sexual conquest. But it's funky and it's fun, and I completely missed the gangsta rap train in my Gen X youth, so I'm glad to be making up for it.

3 1/2 Stars: I didn't understand a lick of it, but it's a good time. Honestly, I was hoping for something a little louder, a little more vibrant, a little spicier. This is Salsa afterall. Still, I'm not mad finding my way to this.

1 1/2 Stars: Okay, so it's poetic and moody. It still does nothing for me. The music isn't catchy. The lyrics don't speak to me. Cohen has been a difficult artist for me to crack. I just don't "get" him, but I'm still searching for that thing. Let me know if you found it.

Doesn't feel quite as inspired as his other exceptional albums, but even "lesser" Stevie Wonder is miles above some artist's best work. Not nearly the bangers on this record, but a few great tracks I've never heard from him.

3 1/2 Stars: I'm down with a crunchy guitar anchored by a flute solo. I'm not necessarily putting this on a mix tape, but I certainly didn't hate it. In fact, I liked quite a bit of it.

This is Pet Sounds for Hipsters. I somehow get the felling this band is better experienced live than through a pair of headphones. I didn't altogether love this, but it was front to back fascinating.

3 1/2 Stars: It's very accessible, funky jazz, but I somehow wanted to like it more. But that bass line in 'Chameleon' is badass.

3 1/2 Stars: This was a nice little surprise. That opening track was pretty awful, but everything following it was a nice blend of jazz, country, folk, and psychedelic rock. You can really hear the foundations of CSNY in this.

There's just something about Supertramp that I love. The tenor of the lead vocals. The skills of the musicians. The song craftmanship. The epicness of their songs without being 15 minute opuses. It just works for me.

3 1/2 Stars: Can something be both beautiful and boring at the same time? Doubt I'll ever come back to this, but wouldn't be disappointed if I heard a track from this on a mixtape.

Beautiful blends, earnest lyrics, and a chance for each artist to shine in the spotlight. Now THIS is what this project was created for. Glad I found my way to it.

A nice little surprise from a band I never heard from mostly because this doesn't sound like it was from 1980. The tracks inside could've easily been the lastest from the Arctic Monkeys. Even with short track times, the album as a whole did start to wear on me a little.

Honestly, I was born in the wrong generation. Swing is so much my kinda music and nobody does jazz vocals better than Old Blue Eyes himself. Earnest lyrics with some of the biggest hits in the genre. It's undeniable this record belongs in this project.

This was such a cultural juggernaut at the time that if you weren't there for it you may not quite "get" it. This is the band that destroyed the bubblegum pop era of the late 80s and early 90s and here they were stripped down with that Cobain cry that dripped with pain. Not every song works, but as a whole this was such a moment, and some of these tracks play better unplugged than their original release.

I dunno. Normally this wouldn't be my jam but every track on this album sounds like the song playing over the end credits of every movie made by every 70s auteur that I so revere, so it really grew on me. Another surprising discovery.

4 1/2 Stars: There seems to be this push to make the Eagles the Nickelback of the 70s era. It's bizarre and just plain stupid, frankly. Inside this debut you find the magic that made and continues to make this band great: perfect vocal blends, and perfect blends of that country and rock sounds. Each artist given the opportunity to showcase, and catchy as all hell, perfectly timed tracks. I even found a few songs on this album I've never heard before that could've easily made it to Top 40 radio at the time. Ignore the haters -- these guys are some of the best for all time.

This is the sound of an era perfectly captured in amber. I'll never find my way back to this, but while it was on I was vibing with it's groovy 60s sound.

Mali is an untapped reservoir of amazing artists. These Toure boys are just a few. Great musicianship and the language of music is universal.

The way this album was stuck in snoozeville for the first 8 tracks before kicking it into high gear for the last 3. A perfectly cromulent listen.

My heart sunk when my pick of the day was an "experimental" record filled with 15-minute tracks from an artist I never heard of. Color me surprised at how much I kinda liked this -- mostly because Holger leans less into the 'experimental' and more into creating something that kinda sounds like music. All this to say I didn't hate it.

Rap's not usually my thing, but damn, color me surprised. Fantastic rhymes and the music and mixing are top notch. Kinda love it and I'll be back for more.

Such a formative album for my younger Junior High School self. A front to back solid record. Even the songs I initially didn't care for (Mother's Pride, Cowboys and Angels) I have a new appreciation for just in their compositions and musicality alone. And damn, what a loss in George Michael. His voice was like butter. Listen Without Prejudice will always hold a spot in my Top 100 albums of all time.

3 1/2 Stars: And after all this time King Crimson, a band I'd always heard of but never actually heard, didn't turn out to be the death metal band I always thought they were.

I was never a big Chili Peppers fan. There's an underlying unseriousness about their music that makes me only able to handle a track or two vs. a whole overbloated record like 'Blood Sugar Sex Magik'. Talk about the serious need for an editor. All that aside, there's no denying these are very skilled musicians. And the fact that the hits inside are the best tracks this group has ever put out pushes up my star rating.

How is it possible for something to sound so good and so unremarkable at the same time?

1 1/2 Stars: Has that Wall-of-Sound-pushed-through-heavy-reverb sound that I hate. Starts to sound like a bunch of unmelodic noise by track 2. Orally and culturally I find it hard to understand why this never heard from band made it into this project.

Nice, odd, and confusing. Didn't love it. But didn't hate it either.

Honestly, Drake's music is like wearing an oversized sweater while walking to the public library on a blustery Fall day and I kinda love that vibe it's giving.

The album they made just before they released their masterpiece and you can hear it. Not every track excels, but their sound is undeniable. Loved it.

Sometimes you understand a record but it's just not for you. This is that record.

This album fucks. That's it. That's the tweet.

4 1/2 Stars: 'We've Only Just Begun' was my parents wedding song, so already I'm a little bit biased. But is there a better voice in the history of music as good as Karen's? I think not. And damn, the production on this is so tight and clean. I love all those vocal blends.

It sounds good, but it also sounds uninspired and a little bit lazy in a lot of ways. Then take that average attitude and double the number of tracks. Yeah, it's not bad by any means, but they've done so much better work than this.

4 1/2 Stars: All these years I thought this was a kooky mish-mash of sounds and noises, and to my surprise actually sitting down to listen to Sgt. Pepper's it's a pretty standard record with great hits and lyrics and fun and the shifting music types isn't as jarring as I was expecting. Another hit record for one of the greats!

Has the overall tone and vibe of somebody giving their final bow. Some beautiful moments with some downright strange. Typical for Bowie I guess. Doubt I'll ever listen to this or anything from it again, but I enjoyed it enough.

2 1/2 Stars: Where are the hits?! Clearly this was produced as a calling card; a showcase of an original and unique voice. But the songs themselves are pretty snoozy. Most of this record is pretty forgettable and there are a lot of tracks to get through.

Albums like 'Another Green World' are why I love this project. I've never heard of this Brian Eno project, and this record is such a vibe. I kinda loved it. It'll go into my regular rotation.

3 1/2 Stars: I always found Document an interesting turn in R.E.M.'s career. You can clearly hear the band with one foot in their indie college radio roots while the other is stepping into Top 40 radio friendly hits. All in all the band sounds dialed in here. Lyrically Stipe's singing about the same things that are just as relevant today. Not my favorite R.E.M. but a band clearly growing towards something here.

The way that audience sounded like the grinding, sweaty extras in the juke joint scene from 'Sinners'. This was fun!

Van Morrison doesn't make hit songs. He creates vibes. And this is such a vibe album. Probably could've made a bit better with an editor brave enough to say No-9-minute-songs!, but this is front to back perfection.

It's fun, it's funky, it's horns can really blow. But as groovy as this is it all seems a little shallow, no?

Lolita leanings and language barrier aside, this sounds like cool French cafe vibes. The actual instrumentals are solid. I just doubt I'll ever find my way back to this record. Kudos for the rad cover art though.

This is truly one of the all time great jazz records, and really one of the top 100 music recordings of all-time. The bummer is it took 250 assignments in this project to get here. And even in those 200+ listens, the lack of jazz music is very disappointing. I'm hoping the next 800 listens ahead for me makes up for it.

I was around when this album was released. Lived through the hype and all the critics slinging around 'Masterpiece'. And after all these years later, I still can't find my way into "Miseducation...". But I'm slowly warming up all these years later. Who knew the girl with that incredible voice from Sister Act II would put out what many consider the all-time great hip-hop records and then ghost from life. The production on this is pretty stellar. And yes, even the skits which were a product of its time are actually pretty tolerable when it comes to the records themes. And LH can write rhymes just as good as she can sing. I just wish I loved this as much as most people from my generation do. Maybe some day I'll get there.

In 2009, Chris Cornell released a solo record called 'Scream' that was a sound divorced from what we expected from the Soundgarden frontman. It was like a mashup of Timbaland beats and Alt-Rock, and while critics loathed it, I thought it was interesting, brave, and pretty damn good. All that to say 'Yeezus' follows that same exact format. A mashup of EDM, Thrashing guitar and one of the best rappers of my generation. It's also very interesting, brave, and a helluva good listen.

Has the sound of a creative working at the top of his game. Also sounds a lot like a holdover from CSN&Y which is why I was groovin' with this record. Not my favorite Neil Young record, but I've listened to this one so few times in all my years listening to his music that it was a nice little discovery.

Sounds timeless considering it was made in 1980. No wonder it's inspired so many of our current metal and alternative bands.

True confession...I can give or take Bowie. I never really feel one way or another about his music. But I can honestly say this if the first album of his in this project that's completely listenable from front to back. Sure, his lyrics remain pretty nonsensical to me, but damn does this album jam. And Luther Vandross on backing vocals?! Who would've known?

4 1/2 Stars: What a nice little discovery. I'd never in a million years think about throwing on a Joni Mitchell album, and 'Court and Spark' is a perfect example of what I love about this project. Forcing me to listen to things I normally wouldn't and finding a lifelong album for my regular rotation. Smart, playful lyrics. Exceptional production. Yeah, her music forgoes a lot of catchy chorus work for more sing-songy poetry readings, but so what? It's still excellent.

'Street Life' is a helluva great song. And yeah, on the broad spectrum of jazz these tracks lean more "elevator music", but damn can these guys play. My jazz tastes lean more Be-Bop, but I don't mind the easy listening variety to cleanse the palate every once in a while.

3 1/2 Stars: It's kinda like if the Beach Boys did the soundtrack for Midsommar.

Gen X here so naturally Licensed to Ill fits into the cornerstone of my upbringing. The fellas are in top form with their performative call-and-response raps, the beats...dated but sharp. And it's LOADED with front to back hits, so yeah, this is the illest.

As far as jazz albums go, I always felt Getz/Gilberto was a little too tidy. But if you're hosting a dinner party, this is the classic go-to for background music.

It's kinda like 'Breaking Bad' where you have to get 6 episodes in before it really starts to take off. That's a sign to me that this thing is bloated and could've used an editor. But boy when it gets going, it really gets going.

3 1/2 Stars: Okay, okay...I totally get why everybody calls him a whiney twat. His lyrics can be a little insufferable. But he's always had a great voice, and the music in general here is pretty solid. Not sure I would put this rather middling album into this project, but I can say that for a lot of these entries. There's certainly been worse.

4 1/2 Stars: 'Madman' may be an Elton John record, but really this is a great representation of what was the killer collaboration between John and songwriter Bernie Taupin. His lyrics bring the stories to life no matter how out there they may be. Plus the syncopation and alliteration perfectly marries the notes from John's piano and voice. This record sounds epic with its orchestrations and dramatic builds. Tiny Dancer and Levon are the best tracks no doubt, but there's so real hidden gems inside.

I really dislike the electronic knob twiddling era of Radiohead. The run of albums they had in the early 2000s were monster hits with critics and fans, and here we are decades later and who the hell even have these albums on regular rotation? When was the last time you ever heard these tracks? Anyway, Amnesiac is probably the more palatable of the series, but that's not saying much.

I forgot what a great listen Guero is. Solid production we've come to expect from Beck with some great licks and choruses. Catchy as all hell, even the singles that didn't make it to radio. Not a single skippable track front to back.

3 1/2 Stars: It's ambitious and and sounds great, but this double-album is in desperate need of an edit. And honestly, I don't know why they didn't just release it as to separate, individual albums instead of billing it as an 'OutKast' record. Neither side sounds anything alike with Speakerboxxx being the upbeat, melodic rap of late 90s/early 2000s, and The Love Below definitely goofier, tongue-in-cheek and more experimental. It's still a good listen albeit a little too long.

2 1/2 Stars: The Replacements were one of those blind-spot bands in my listening history, so I was excited for this to be my daily assignment. Maybe it was my mood, or my drifting attention, but I found this record perfectly cromulent. I didn't find it particularly memorable and I doubt I'll find my way back to it.

Critics: Wyatt's lyrics are so very personal... Wyatt's lyrics: Not nit not Nit no not Nit nit folly bololey Burlybunch, the water mole Hellyplop and fingerhole Not a wossit, bundy, see For jangle and bojangle Trip trip pip pippy pippy pip pip landerim

2 1/2 Stars: Pretty innocuous album. Not terribly offensive. But not terribly memorable either. Really need this project to pump the brakes on the experimental recordings lately.

The cover of this album made me think I was in for a screeching metal album, and what I got was some perfectly poppy rock tunes with some light, goofy lyrics, and I liked it. I wouldn't be mad if I heard any of these tracks on a mixtape. Good, but kinda forgettable.

I like Queen of the Stone Age, but a little bit goes a long way with me. Which means by 3 songs in I was ready to move on. I was completely unaware they had albums before Songs for the Deaf, so this was a nice little find and some really great bangers on this one. It leans a little more "college radio" than a polished studio sound, but still good overall.

Light, fun bluesy pop-rock with that one-of-a-kind Rod Stewart voice. How come we never hear Faces on the radio anymore?! I'm not familiar at all with their music, and I'll be back for more.

It's all perfectly...fine. Trip hop was never my jam even when it had it's moment in the 90s. Listenable, but not memorable.

3 1/2 Stars: Metal isn't normally my jam, but I don't mind when it pops up as my assignment. Who knew the long-hairs could be so socially conscious in their mosh pits?! Great finger work when those guitars get going. And Dave's voice isn't my favorite but it does the job. I s'pose I can add this to my gym soundtrack.

ANOTHER Bowie Album?!! I think I've had 5 and I'm barely into this project. Here's the deal, I don't get a hard-on for Bowie like so many others do. I think he was an artist of his time and there seems to be a had-to-be there about his music. That said Hunky Dory is probably my favorite of his so far. It cuts a lot of the rock and glam and pares it down a lighter, gentler feel. Changes is undeniably excellent, and Life on Mars might be my most favorite Bowie song. I'll come back to this.

3 1/2 Stars: This album is tight. Excellent production, Solid rhymes. It sounds a little dated like rap at the dawn of the century sounded like, but it's still a helluva good time.

This record sounds like a Tarantino film. All sepia-toned as I'm racing down a deserted highway in my 72 Nova to exact revenge on those who wronged me. With Ray-Bans on. Gotta have those Ray-Ban aviators when the Bongos and horns start slapping.

I've seen the Scissor Sisters 4 times in concert. One time I even snuck my way in to the back entrance of the Palms (it's amazing where you can get when you just act like you're supposed to be there) and was able to meet Jake and Anna in person. They were awesome. Their shows were awesome! All this to say I miss this band terribly, and I'd love to see them all back together again. This album is Gay and Glam as fuck and nobody did it better.

I appreciate some old school, twangy country, but a little goes a long way for me. With Gram not having a terribly good voice, it was the angel-like harmonies of Emmylou that saved this for me. Worth a listen, but doubt I'll be back.

There's a whole lot of nonsense about the Talking Heads that demands their music not to be taken seriously. But the musicianship and song craft is on point, so it's hard to hate. No depth to the songwriting. The title of each track is very literally about that thing, like Air for example. But it's lighthearted and fun and I could put this one in regular rotation for sure.

I used to play tracks off Physical Graffiti all the time when I jocked for a rock station years ago, but I've never honestly sat down and listened to this bloated album from end to end. Wow! This is a great fucking album. Plant never sounded better. And the band is so tight. This has to be a high water mark for the group. The record is long, but honestly there's not one skippable track. There's even a few cuts that could've easily been radio hits. This might be my most favorite Zeppelin record.

Punk goes Pop the 1980s version

Perfectly cromulent entry-level jazz with some nice solo work. But how this showed up on this project before Coltrane, Baker, Rich, etc. is a real head-scratcher.

3 1/2 Stars: Really kinda loved this EXCEPT that vocal swoop on the high end of the lead singer's voice. It's so fucking grating, and an obvious indicator he was never taught how to properly sing. But yeah, I've seen this album cover in record stores for years. It's one of my favorite covers, but I never had listened to the actual band until now.

The album that pushed Metallica from a fringy thrash metal band to a metal band capable of mainstream radio. Even though the filler tracks aren't exceptional, the hits are such fucking classics that it pulls the whole thing into classic status.

3 1/2 Stars: About what you'd expect from Abba. Great vocal blends and a pop flair that makes it easy to listen to. It just lacks the hits that makes their catalogue so great.

Funky, funky, groovy, groovy! Love this energy.

My parents were hippie-light, so CSN&Y were in constant rotation in our household. This album is perfect. Excellent vocal blends. Tight 2-4 minute songs. Excellent guitar work and writing. It perfectly encapsulates the Summer of Love with the threat of Vietnam on the outskirts. It's a really solid record from first track to last. The only weak track happens to be its longest -- Neil Young's attempt at an opus call Country Girl drags a little too long while the rest of the record is so tight.

Damn fine alternative brit pop that doesn't sound too dated with mostly lean 2-3 minute tracks. Now, that's what I'm talking about!

For all the years I've listened to this, I completely missed it was a 'concept' album of sorts. Excellent voice and backing vocals. Lush orchestrations. Top notch writing. This is an all time banger.

Gen Xer here, and Jane's Addiction never made it into my regular rotation. Not sure why. This sounds like quintessential Alternative music of the era. The lyrics are absolute shit. But musicianship is pretty solid. Personally, I can only handle Farrell's voice for a handful of tracks before I'm ready to move on, but his does lend the sound to make it undeniably Jane's Addiction. Kudos to one of the best album covers too. I've carried this image with me since it came out. The fact that I knew the cover, but never heard the music and that it stayed with me says something.

Big fan of an album full of 2 1/2 minute catchy-as-hell songs. You can really hear their influence on the British pop-rock bands to come. Masterpiece? Hmmm, maybe not so much, but I do see and hear its influential impact in music at the time and to come.

4 1/2: This really is an exceptional, playful, skilled record. There is an undercurrent of unseriousness in the writing that keeps me from giving it a full 5-stars, but it still fucks.

It really doesn't get any better than this. Classic soul music that you can actually FEEL in that Otis Redding cry. Even for an album made up of mostly covers, it's exceptional. Should be in any music lover's regular rotation.

This album was a monster hit when I was in college and I didn't care for it then. And honestly, it's still not my jam. But hip-hop in general isn't anyway, so I don't fault it. The trio are really "on" here and the writing is pretty brilliant really, so it's a positive review from me for something I don't particularly care for. Sometimes you can recognize a masterpiece even if it's not for you.

As a curiosity it's pretty great. As a record on regular rotation...not likely. It certainly sounds great, albeit just shy of the Beach Boys' golden days. I'm happy Wilson was able to make his dream a reality.

Leonard Cohen is like broccoli to me. I don't love it. I don't hate it. It's probably good for me, but it doesn't taste very good. I dunno. I can give or take it.

I LOVE Goldfrapp's more recent dancy releases. Critics and the general public have absolutely sat on these bangers of an album. Honestly, I had no idea Goldfrapp sounded like this early in their career. Heavily influenced by the sounds of John Barry's James Bond Scores and the Divas who belted out those iconic Bond themes, Felt Mountain is lush with orchestrations and the sexy, dark sounds of that British spy's early beginnings. It's moody and slow and you kinda have to be in the mood, but I absolutely loved it.

I'm Gen-X, but somehow the Pixies have always stayed outside my music knowledge. I did see a solo Frank Black open for the Smashing Pumpkins once, and he was altogether pretty terrible, so my excitement to listen to this record was non-existant. How wrong I was. This album fucks...big time! Not a bad track on the record. Each more interesting than the last. The writing is on point, and the playing is hardcore. My little 90s Alternative soul sparkled for 40 minutes and I can't wait to go back and keep this in regular rotation.

There's something insanely poetic about a "punk" group that wrote an entire album raging and resisting against the Bush Administration only to turn right around years later to become bootlickers of the Bidens championing AGAINST Free Speech and bodily autonomy. Sooooo punk rock (insert eye roll here). Regardless, this album has one of the best 5 opening track runs of any album, and that segue from Holiday into Boulevard of Broken Dreams is an all-timer. They're posers, but I can still appreciate a good record when I hear it.

This album is a vibe. Like the music over the closing credits of an Indie film. Not terribly melodic, but definitely moody. Great writing to boot.

If this is your first dip into international music, quit sleeping on Western African artists. It's some of the best music period.

3 1/2 Stars: Took me right back to my college radio days. A very lo-fi vibey album of French electronica that plays a little too safe, but I can see why this was highly regarded at the time. A good background album while you're doing other things.

Excellent debut! Kinda sad how Dire Straits has been a bit forgotten even in Classic Rock radio circles. What I've always loved about a Dire Straits song is how crystal clear the production is. Every hi-hat hit, every guitar pluck cuts right through that soundboard. It's sharp and pristine, and the type of music best listened through headphones.

Simply exceptional. His voice straddles this line of weirdness and vulnerability and I'm here for it all. Perfect 3-minute tunes that are catchy af.

As much as I love that undeniable sound of Billie Holiday's voice, she sounds tired here. In fact, her orchestra is so good they practically upstage her in my opinion. They are tight. She sounds like she's struggling through a long track list of mostly throw-away slow-tempo songs. This album never seems to get out of first gear. But I'll listen to just-okay Billie Holiday over a lot of music any day.

3 1/2 Stars: Rap and Hip-Hop is not my genre, but I know enough to be a little dangerous. Crazy how I've never heard of Little Simz. One of those UK artists that never broke through to American charts. She's sharp, great rhymes and the beats have this kinda sound that leans jazzy. I liked it and wouldn't be mad if I found my way back to her.

This being a Country and Western album is debatable. The awesomeness of Ray's voice over these swingin' orchestrations is not. How can this iconic (and culturally historic) album be anything but 5 stars?!

Altogether excellent, but it's true that it's entirely too long. Like anything sweet, a little tastes good, but too much and it gives you a belly ache.

Single-handedly introduced the western world to International Music with this album, so stfu about cultural appropriation.

3 1/2 Stars: As a historical album this really works. You can hear the sound that would go on to influence so many in the alternative music world. It's really good. I just probably won't ever find myself back to this record. I appreciate it's place in the music world, but not a must listen for me.

Not me picturing myself walking the streets of New Delhi in a courderoy blazer with steamer trunk in tow perfectly framed like I'm in a Wes Anderson movie.

I had no idea this double live album existed and it sounds just as good as anything Van Morrison has done. The musicians are solid here. And Van is on fire here. So much playful energy with the audience and the band. The only downside is the last half of the album leans a little sleepy and doesn't hold up to the energy of the first half. But I'll take sleepy Van over a lot of other artists any day.

What sounded edgy and metal at the time plays pretty trite now. The cultural references are pretty embarrasing. Regardless, Slim can rap is face off, so there's that.

You know how some artists can just make music that sounds smart? That's Janelle Monae and that's on full display on The ArchAndroid. It's catchy as all hell and tight production, if not running a little overly long. Her real masterpiece is Dirty Computer and hope it's a must for this project. Let's hope it makes an appearance soon.

3 1/2 Stars: Not what I was expecting. I liked it. Not sure I'll ever find my way back to it, but pleasantly surprised by what I heard.

That first track I was like "huh, this actually kinda bangs...". But by the third song about maidens running through the forest, I'd just about had enough. A little of Fairport Convention goes a long way. But kudos to this project for introducing me to yet another (British) band I'd never heard of.

You know how the movie 'Armageddon' is in the Criterion Collection? Yeah, kinda like that.

I saw Sigur Ros play Red Rocks about 15 years ago and the audience was bored out of their minds. This is a vibe band -- not a show band. their sound is weird and cinematic and you've got to be in the mood for it. But man when you want to walk through life like the end credits of a movie, there's no better music to score that scene.

There's something kinda quaint about how these early entries in rap and hip-hop compare to today's vulgar and heavily auto-tuned music from the same genre. Ground-breaking, smart, catchy as all hell. This whisked me right back to my teenage years.

2 1/2 Stars: Honestly, if this band was on stage at the Buffalo Chip during the Sturgis Motorcycle Rally, I'd probably be into it while downing my Bud Light and taking hits off the nitrous oxide balloon making its rounds around the crowd. This music isn't terrible -- the music skill is actually pretty good. The bigger question is what it's doing in this list in particular. I could've died without ever hearing this album.

Truly the worst experience of this project so far. I hate live albums anyway, but the sound on this is just awful. It sounds like you're standing at the very back of a real shitty outdoor venue. The vocalist is terrible. The lyrics are nonsense. And the music is a repetitive wall-of-sound with some songs going on for 13 minutes. I forced myself through the entire album and had to talk myself out of not quitting several times during it's 2 1/2 hour runtime. I got to hand it to the drummer though. He's cookin' on his kit!

The music itself is pretty good. His voice is not. Hard to believe this band has made dozens of albums and yet hardly any relevant hits or cultural impact. This is hardly an album I needed to hear before I die. Depressing week of album choices for this project.

3 1/2 Stars: Took me right back to my college radio days. We played the shit out of this record. Still remains one of those uneven albums where the hits are really f'ckin great while the filler tracks are merely just okay. It's almost like Beck is straddling the weirdness of Mellow Gold while attempting something a little more mainstream. Regardless, this is a pretty formative record from my younger years.

It's wild the division on this album. It's either 1-star or 5 and you can count me in the latter. Really focused writing and the stripped down approach lends a ghostly layer to the storytelling. I love this era he's writing about and the plains states he's singing about, so I'm fully on board here.

Playful, fun, catchy as all hell. Why did T. Rex slide into the dustbin of glam rock history?

My tolerance for twee, unserious music is paper thin, so I was dreading heading into this. Happy to report Tom Tom Club is Real Real Awesome! Loved every minute of it. Reminded me of creating songs with my childhood friends using those built-in beats on a casio keyboard. Put this in my regular rotation!

Oh look, ANOTHER Rolling Stones album has made it on the list....great. At least this is an album of decent covers, well played, and clocks in at an easy 30-minute listen. I can do that, and so can you.

Not me in a poodle skirt and mary janes clutching the cover of my Elvis Presley album while dancing in front of the Victrola player in my parent's ranch home.

3 1/2 Stars: Nu-Metal is not my thing, but this wasn't half bad. The problem is a little goes a long way and this album is stuffed with 15 5-minutes+ songs. It goes on and on and on, and I was pretty much done with it 4 songs in.

I really despise Live albums but this one cooks. The band is on fire and Diminuendo in Blue is one long incredible sax solo that cooks and cooks. This might've been Ellington as his star is starting to fall, but the band sounds just as incredible as ever. I should've been born in this era!

Although I've heard of Kate Bush and the obvious hit single Running up that Hill, I had never really listened to her music before. I had a preconceived notion that her music was very experimental and inaccessible. I'm happy to report that even though Hounds of Love is weird at times, the tunes are exceptional and at times very catchy and palatable. You can very much hear the influence on Stevie Nicks, Florence and the Machine and Goldfrapp.

Not my usual flavor of music, but damn how I wanted to get in the mosh pit with this one. Will be fueling my workouts in the forseeable future.