The title track and passage to Bangkok are probably in the conversation for Rush's finest work. It's absolutely a shame that the majority of the second half isn't as memorable

GET IN MY EARS YOU BEAUTIFUL BASTARD

Great, sags towards the end - Witch Hunt does nothing for me, Vital Signs never gets into top gear but still enjoyable and Camera Eye is a bit drawn out but not so much so to be unlikeable.

It's very spotty; like most Muse fans. It has plenty of bad Depeche mode and queen pastiches. Some moments are likeable but not loveable. Exo-politics onwards is forgettable as. Knights of Cydonia brings it back around a bit.

Lots of catchy songs, but that's not necessarily meaning you'll have a good experience. The tracks with Shara Nelson are the highlight. Other vocalists are misses. I don't REALLY get trip-hop/downtempo, but guess this must have sounded mental in 1991.

Bloated song lengths, oversexualised, obsessed with violence and pointless intro and interlude skits; as per usual I find east coast hip hop and gangsta rap to suffer the same ills. When I find a track I like, I can enjoy it very well, but most stuff on here that just washed over me. Flow is great as is the rhyming around vowel sounds, just the lyrical content turns me off so badly.

Ubiquitous though SNA is, it's still a banger. It's aged a lot better than I thought as a whole. Where the songs are upbeat it's still a rip-roaring rock album. Quieter, meg led, downtempo and acoustic tracks don't hit so hard. It could've been a perfect record if a tiny bit shorter?

I absolutely LOVE REM, but as has always been the case when listening to this - which I know is highly acclaimed in their back catalogue - I am kind of ambivalent to it. I think instead of being a great realisation of where they would end up and the accomplishment of where they started it's just TOO transitional. It misses the soaring poppy art rock highs of their later work, and the austere jangle of their early records.

I WANT to like it, but I just don't like very much of it at all. Yes, Faster & This is Yesterday are brilliant; the rest of the album shades between being forgettable, inoffensive post-punk and horribly bad confessional indie

It's a dissonant piano freak out on the title track from being perfect; but is it as good as Ziggy or Hunky Dory? I'm not sure.

The greatest commercial hard rock record of all time? Probably. Album tracks could've been viable singles for many other bands. They play cheap tricks; but by God are the tricks powerful. It's puerile but isn't it good to be every once in a while.

Some phenomenal highs; but is mostly forgettable albeit enjoyable folk. Probably a victim of overstated importance.

I think this is probably unfairly maligned because of David Thomas' voice and the timbre of some instruments. It's not one to playlist but I genuinely liked more than half of it. Judge this by the yardstick of being a post-punk record and you can see it's potency. Judge this by it's accessibility and it looks like a fish climbing a tree

It's an imperfect classic; iconic voice with some signature tracks here. Maybe could've benefitted from being finished properly? It is still however a classic.

I had no idea what to expect; I enjoyed a good chunk of this. It's inhibited by the nature of being a compilation from different sessions. The performances are consistently good and her voice is great; I'll be rating this positively despite the quality of recordings and musical timbres varying more wildly than I would have liked.

I can't believe this is the Shuggie Otis album that made the list - but nonetheless its excellent. The title track is the highlight here, with some great (in their own right) jazzy pieces closing out. A meandering way to close out the record, especially when the work with sung vocals was very strong.

I didn't know anything other than Brass in Pocket which I've never liked. This was a dull way to spend almost 50 minutes. I disliked almost every song because of how insincere it sounds; biggest offender are the vocals. I liked Space Invaders though.

Meditative synth experiments at the early wave of ambient music, it's an absolute trip but hardly a hoot. I wouldn't reach for it very frequently because it's an austere experience - but I very much enjoyed rediscovering it.

The title track and passage to Bangkok are probably in the conversation for Rush's finest work. It's absolutely a shame that the majority of the second half isn't as memorable

Arguably one of the best live rock records and the most important jam band album of all time; prototypical, even! It's a little long but for the most part it's a massive joy to hear such abundant talent and genuine improvements to some studio cuts.

You can question how authentic it's anti-capitalist credentials are; but you can't question the potency. The only time the album dips is Settle for Nothing - I could really take it or leave it off the album. It's not a bad track per se, but it changes the pace without necessarily improving the output. An easy decision to make it a 5/5, it defined a genre and it was never bettered by them or anyone else.

It's the ugly, angry cousin of their big three records but there's some fantastic arty highs despite being less euphoric and consistent than the predecessors. Will be more often in my rotation than it was, as it's a lot better than I remember it being, although Seductive Barry could be their nadir.

Dave Formula's scooby doo keyboards don't always hit the spot, but there are enough good songs to call this an enjoyable experience!

Having bought this on release, listened to it once and shelved it during 2016, this has been an absolute joy to rediscover. I don't think Cohen could've had a finer swan song. His delivery of sparse lyrics, the rattle of his voice, the understated instrumentation, the various genres covered and in some cases - fused, the brevity ensures none of his final moments on tape were wasted. A 5/5 - an incredible surprise - and will trigger me re-evaluating his other work.

Soon Forgotten sums up the story of the first couple of tracks on this. The performances wind up to a great second half that doesn't end perfectly, but is much better. It's a significant recording, maybe a little homogenous, but I'd call it satisfactory and influential rather than enjoyable and groundbreaking.

I love the fact you can hear both eras of Waits in this album. The horrid grimy and strange beast to come, the straightforward songwriting of his earlier work. It's not perfect, but it's well beyond good.

I wanted to give this a five and say it's made me re-evaluate my opinion of grunge and I was regretful for not being an Alice in Chains fan before. Unfortunately, I just thought it was OK. I love the way the record sounds; but I don't love a lot of the songs. The song lengths feel quite bloated, with little development over five or six minutes.

I was shocked how little I remembered of side one when I remembered pretty much all of side two. I went into this thinking its not their best album. The highs are high enough to praise as their best.

Final boss of AOR, who am I to argue?

It has been my favourite Bowie album for the longest time. No change to that on a re-listen.

The melodies and song directions are interesting, but not always the most effective. The concept is really well embedded and still feels relevant. I will definitely listen to it again, it might become my favourite of theirs.

If every song was shorter, and F*cking in Heaven was removed, I might have enjoyed this. It was a tough listen with a couple of highlights.

I only knew X from Los Angeles' title track. This is very much in the same vein. Considering this came out in the early 80s and was so heavily aped, I can see how this would be a landmark recording. The punk blues parts are brilliant, I'm less sure of my enjoyment of the lyrical content. Those harmonies are best described as hypnotic, again I'm not sure if that's good or bad! I've playlisted a few tracks - so it gets a positive score.

Extraordinarily tough listen, it's like it's covered in molasses, it's so sweet and slow moving. Makes the achievements of Pet Sounds only a year later even more stratospheric. Help Me Rhonda and Do You Wanna Dance are enjoyable. Some flashes of enjoyment elsewhere, but subpar for me. I'd rather listen to Phil Spector production than an attempt at it.

Bowie's best rock record, it's literally perfect.

Long and plodding. It reminds me of rainy Sunday afternoons. How Ella and Louis or Porgy and Bess gets overlooked for this archival behemoth is nothing short of absolutely mental. The hit rate is low, but it's not unpleasant. I wouldn't dream of ever listening it to again, nor any of the other songbooks.

I'd agree with Jon Landau, it's probably the best solo output from any Beatle. It's not quite perfect, though.

Final boss of disco, but she's out of my life and I can't help it let it down

An extremely welcome rediscovery, I absolutely loved pretty much every note.

I had a massive urge to turn it off, I hated the vocals, the polyrhythms were nice but the instrumental parts were uninteresting. Like Anohni and Foals but less good than either. Bad Sparks impressions

In their classic run, I've often thought this is the weakest - and another listen didn't change my mind. It is the weakest because it is so uneven, and probably as a result of the fact it's the only one in that feted run that couldn't be argued as a concept album. I liked some of the tracks very much, and the ones I didn't particularly like just passed me by.

A really fun pop record with spiky edges and massive hits. There are some weaker tracks but they don't drag it down too much overall. Solidly above average. Still think Debbie Harry needs a good wash, rammy.

Non-descript Britpop/Power pop, why is it so compressed? I didn't hate it, but it didn't do much of anything for me and I probably wouldn't listen again.

You can make the argument it's their best record, it's certainly the start of the beat run in their career. It's only short in a couple of places; for example, more is desired on the loud end of the dynamic range; Lover of Mine is a bit wonky; the pace very rarely gets above a walk across the whole record. They're also charming flaws.

The sound of repressed feelings and male angst; one of England's finest songwriter in the middle of his creative peak. Need I say more?

It's a very good REM record, doesn't quite stick the landing.

An incredibly brave move with fair but somewhat inconsistent results. Not my favourite of Bjork's albums but it's pretty enjoyable.

A welcome first listen; I enjoyed it and will hopefully look at more of their work. I was generally less impressed with the English speaking tracks in contrast to the Zulu tracks. Two a cappella albums in two days?

If there's an easier 5 to be given, I don't know about it. I remember driving through Death Valley National Park, fighting back tears at my gratitude of where I was and who I was with. It's a biting commentary of what America thinks it is, and what America actually is, and a love letter to the tension between the two. It might be my favourite album EVER.

It's an absolute classic, but today, it doesn't hit as hard as I thought it would. I think the engineering (although of its time) makes it a slightly more difficult listen, why is the harmonica blowing inside of my skull? 💀

Super pleasant, but if I wanted to hear Donald Fagen, there are seven Steely Dan albums I'd rather pick than this.

Have never heard this, nor anything by Common. It was a pleasant surprise. The tracks I liked I really enjoyed. The ones I didn't annoyed me. There are more tracks than I like than I dislike.

A fine experimental record with plenty more upside than down, but the concept is sometimes poorly realised

I remember this being fine, and it was a little more than fine. I don't love Ric Ocasek's voice and there's a lot of synth timbres that sound off the shelf - sometimes charming, sometimes amateur.

Its a four for vibes but a three for enjoyment

I definitely have listened to this before, and it didn't click then. It has now! The guitar sound and patterns are great - this is basically everything I like about Joy Division with a great vocalist

One trick ponies

An absolute stunner, like a country tinged Velvet Underground. You can hear shoegaze, proto-heavy metal, baroque psych, space rock. A gem!

It's perfect

I didn't know this; and was pleasantly surprised for the most part. I think it would've made an amazing single album, but that is something I feel about most double LPs. A comfortable 4 star listen..

All the leaves are brown And the sky is brown We're all wearing brown And the cover's brown Lets add some brown text And all get in the bath A very beige album for such a Summer's day

It shows a tremendous amount of promise with some highly enjoyable tracks,

One of the best albums of the 90s, and one of the best guitar tones ever

Love the samples; funky, fun, rebellious. I'd listen to it, and them again!

Would've been a five if I didn't genuinely hate the title track

Almost perfect, the only weak track, Judy, is saved by a wicked middle eight!

Fine, but some of the songs are seriously irritating

Doesn't have business making mostly good to great records this late in his career, and he made two of them!

I'd give this a zero if I could, it's an absolute car crash. Why wouldn't you pick Julee Cruise or Portishead over this?

This could be one of the worst albums I've ever heard, an edgelord's wet dream. First album on the list where I didn't enjoy a single track enough to playlist it

Some incredible ideas with largely enjoyable execution; this would absolutely scare the hoes if it came on shuffle - but was a great sit down experience

Her last perfect record.

A really solid and moving post-rock album, a benchmark for many bands in the 2000s

He wears his influences and shows who he would influence very clearly in this record, sometimes it works, sometimes it doesn't.

Much like Master of Reality, this would be pretty much perfect if there weren't two less good instrumentals! Probably timbre wise it's Sabbaths most influential album. It's not from 1971 though!

Nothing to be said other than hasn't already been said

Pretty good!

It was good, but not great. I dislike David lee Roth's voice and EVH is a wicked overplayer

It's fine, but I'd literally rather listen to studio versions of the same material

Springsteen for theatre kids, it's brilliant

A very special record to me, and possibly my favourite of theirs

Nice

What a voice, I didn't love it as much as I thought I did on a re-listen though

This album is finally starting to click, it went up from a three to one of my very favourite dream pop albums

Serious bops, all over the place

I don't know how Lenny Kravitz convinced himself so contritely that he was good, let alone anyone else; in the words of Ongo Gablogian "DERIVATIVE" He saw Prince moving into new sonic territories to mixed success and then jumped into his grave. The only saving grace, is this palette somewhat sounds like how Prince would revive himself with in 95 and thereafter.

What a voice, what a collection of love songs; more frank in the rotation

Enjoyable with some really interesting melodies, falls short of her best work and white dress is irritating as

The point where I lose interest in Madonna

If 3.5 existed, I'd give it that; I don't see the point of pretty much all of the short tracks, there are some enjoyable Stevie Wonder-ish neo soul and pop pieces Super Rich Kids epitomises this albums best (fusing soul, hip hop, and bedroom pop) and worst moments (pity me I'm a millionaire's son lyricism).

No change to my feelings on this album it's a really accomplished and extremely fun record that touches indie-rock and psychedelic pop. Those last two tracks fall short of the rest of the record, unfortunately

Solid 4

Loved the beats. Enjoyed many of the samples, but the ones I didn't like were irritating. I largely liked the lyrics, except when it became a bit crime oriented. I feel that there are too many songs that are very similar timbres - but what I liked I liked very much and would listen to more of Gang Starr.

Best goth album ever made

Take off Stanley Unwin and the stupid cockney accents and this could be a four, but it's just OK

Interludes and intros, pointless. Didn't do much of anything for me. I don't understand how this is heralded as a landmark for so many contemporary pop songstressrs

Why the bloody hell have I never heard this? It's like the pixies and sonic youth. Dead fun and jagged

RIP DAVIE BOWIE FROM THE DAVE BOWIE BAND

Great sonic palette but probably lacks the songs to be truly beyond good

Didn't know it, but feel it will be in the conversation for my favourite American punk albums on further listens

Takes me back to being 14; great record

What a fucking record, emphasis on the fucking. Could well have been a quadruple with shorter song lengths or at least a triple album using the original lengths. The 2019 Super Deluxe shows a number of tracks more than capable of making the final cut.

Almost as good as their best

The perfect transitional record, starts to show the studio magic, refining the straightforward pop and rock that preceded it. There's eastern sounds, soul influences, chanson, proto-Byrds numbers, it's perfect.

That opening four track run is probably the strongest in their discography. Everything after is simply fine

The rat and cat sat on the mat type of lyrics with a voice that bad, you're in for a poor time

A very strong collection of songs, it suffers from its own eclecticism

The James Brown covers are inferior versions, it shows promise, but they wouldn't really find their feet until a few years later. My generation, kids are alright and the Ox are highlights

Their first perfect album? Maybe a touch too much John for my liking, but there are so many massive songs here - and probably kicks off their most prolific pop period

Oh I wish I enjoyed this more, annoying vocals and timbres ruin it. I didn't hate it though

Guilty of picking his earlier work over this routinely. It's so angry and sad I find it hard to want to get into the album. But it's a real treat.

It's JUST a four, just about, maybe it's a three but there's a few big songs.

Some massive tracks, enjoyable jams and tones that cut like a buzzsaw on Keep On Chooglin. Only let down by two blues by numbers style songs in the middle

Why do people think the Berlin trilogy is Bowies three best mid seventies albums? THIS shits all over Lodger, and although an LA album is a much more focused and a natural stylistic pairing to what he would do in 1977. To go from Blue Eyed Soul pastiches to a Brechtian art rock with jazzy undertones in twelve months is INSANE. The fact his lifestyle didn't destroy him around this time and he could be so creatively fertile is wild.

Great record!

Two versions of the same song is always weak filler, it's pretty decent but Wayne Coynes voice isn't the strongest

Shite, turgid Gallagher-lite dross. It's chock full of meandering dirges. Pedestrian sound of British decline. Feels like going 3mph bus tour of Bolton in a clapped out British Leyland. Sixty four minutes of watching magnolia emulsion soak into a white wall.

Yeah, canny fine, I can't believe this is on the list though? I wouldn't have given Chems the plaudits except for Dig Your Own Hole?

Has to be up there with one of the strongest second sides in album history, and a supreme album in its genre

We Will Fall is an extremely unwelcome addition to this otherwise straightforward and vital proto-punk record. Probably would've been an amazing EP without it - or could've been improved by including Asthma Attack in its place - which covers the same territory of weirdness in a briefer, more direct but equally dark way. This would've been a four, but it genuinely loses a point for this songs inclusion. Otherwise this is guilty of aping some pretty huge artists and doing so obviously from a compositional standpoint, but brings enough to the table from an ethos and timbre to remain a worthwhile listen. Somewhere between The Doors, the Velvet Underground and MC5 exists the Stooges, and this is one of their records - sometimes that's as much as you can say. Fun House and Raw Power are better.

It's so weird and quaint, I loved it

It's good, there are some seriously off-putting vocal affectations that make otherwise great songs just par

Once you've heard it, you can't unhear it; a life-altering recording. I love and hate it in equal measure. Today, I loved it except for the repetitious acapella tracks Since this album isn't on Spotify, and I therefore can't save songs that I like to my playlist to prompt future reflections -here's my amateurish and hasty listening notes: Frownland - A baptism by fire, chainmail voice and dense atonality. Dust Flows Forward and Dust Blows Back - ominous to hear the isolated voice and natural vibrato, with a strange, somewhat pastoral poem Dachau Blues - the groaning of the industrial death machine is absolutely evident here Ella Guru - a more straightforward psychedelic rock number, comparatively with a jazzy drum part and chorus refrain Hair Pie Bake 1: cacophonous horns in the Ornette Coleman tradition. Moonlight on Vermont - a chainsaw and axe of bluesy treble-rich freakouts going through the bathroom door; my favourite track. Pachuco Cadaver - second mention of the fast and bulbous trope, a bouncy accented trip, enjoyable Bills Corpse - a more challenging polytonal drag with horrorshow lyrics, that bouncy feel remains, but feels like a carnival bungee cord starting to fail Sweet Sweet Bulbs - funky gunky and makes all kinds of pastoral/spring/sexual comparisons Neon Meate Dream of a Octafish - what am I actually listening to here? China Pig - the recording quality changes, aping old blues records and blues 78s, definitely the straightest composition here My Human Gets Me Blues - like a swamp witch doctor leading two bands at two different songs at once. When that bass comes in the last quarter it hits like a bowling ball Dalis Car - Is this Glenn Branca? Who invited Thurston Moore? Hair Pie Bake 2 - like all leftovers, better the second time when thoroughly warmed up Pena - fast and bulbous again, is this the point in which you realise they're kind of joking and having fun? Well - the best pure acapella track When Big Joan Sets Up - makes me feel like being on a rollercoaster, some of those little guitar motifs are brilliant. The horn cutting through is genuinely hilarious at first. Can would be proud Fallin' Ditch - lives up to it's name, sounds like a band falling down a slope Sugar N Spikes - lives up to it's name, sweet and jagged - another relatively straightforward one! Ant Man Bee - John Lewis Hooker(ISH) at the outset and by the end I've no idea what I'm listening to, maybe a semi-truck carrying a jazz band through LA traffic Orange Claw Hammer - a touchstone would be Richard Dawson, although far less folksy, or perhaps the melodies of Gregorian chant Wild Life - I hope to never feel as shitty as this song feels, it's like a migraine in a nursery She's too Much for my Mirror - it's only now I notice Zappa when I hear him, even though I know he was producing! The drumming here is chefs kiss. Hobo Chang Ba - is this a sensitive depiction of immigrant alienation or should we cancel Don Van Vliet? The Blimp (Mousetrapreplica) - how tight were the band? I bet they loved rehearsing together in harmony under no pressure Steal Softly Thru Snow - the band seem to get progressively tighter as the album wears on - is it intentional or my ears adjusting? Old Fart at Play - you can hear what he would do on Ice Cream for Crow, I think. Why the vocal take lasts so much longer I've no idea! Veterans Day Poppy - a seriously strong finish, I think - it's like 60s psych meets European Son meets One Flew Over the Cuckoos Nest meets rockabilly

High watermark of English folk rock

There are some fantastic pop/r&b songs here, the biggest tracks are somewhat cheapened by their ubiquity but four HUGE singles is impressive. Nothin' Else is a great Stevie Wonder parody, but after that, the album really starts to lose it's way - the final seven tracks send us into the weeds with them ranging from non-descript half baked single ideas to the straight up uncool.

I don't know what he's trying to achieve with this album, I assume it's a gesture towards the vibes of the great American songbook writers but it just doesn't land. For such an iconic guitarist, it's also a bold choice to spend so much of the time behind the piano - and Keith Jarrett he is not. A few good singles save it.

I think this suffers from being overproduced in contrast to Five Leaves Left and Pink Moon - much in the same way Nick Drake allegedly expressed. The album is at its strongest when it showcases Nick, and not the band that was assembled for him. The instrumental tracks range from good to fair. It's my least favourite of his, but it's still a very good record.

This is so fucking corny it's unbelievable, sounds like it was dreamed up in a C-suite office and stinks of trying to target light beer enthusiasts

Pretty good, I prefer the jazzy/soulful side of trip hop that this shows - but the scooby doo keyboards and scratching doesn't do it

Thanks for an enjoyable listen you sweating lunatic

Vocals sit somewhere between Tom Verlaine, Iggy Pop and Trent Reznor. Instrumentals leave a lot to be desired - but kind of understand what could be considered shocking for 2004. No real standout songs other than maybe Spike Island

Southern rock before they became Southern U2, nostalgic listen! It's a little more than fine, and a little less than good.

I love this record, but sometimes it's so slapdash it prevents me adoring it

Its reshaped my understanding of how respected she was by other singers and country artists so early in her career. I kind of think of KD as a chameleon who indulges in so many different styles, but she's a country girl who reinvents herself. I enjoyed this, but I think it is less refined than Ingenue.

This is a bit of a weird record to my ears, I want to like it but it doesn't connect with me, I guess it just feels a bit esoteric, austere, maybe just simply cold? The follow-up is so much better

Largely an absolute joy, and it feels harsh to not give it a five when I like every track. But Tentative Decisions is so genuinely irritating, and Happy Day I could change my mind on.

Best pop punk album committed to tape? I think so. All By Myself & FOD are a poor end

Perfection - derivative and yet influential perfection

It's OK, but stinks of red stripe

GET IN MY EARS YOU BEAUTIFUL BASTARD

Ok, why have I never listened to this? I LOVED it Tons of atmosphere, lovely assemblage of timbres and styles explored on side one. Kosmiche, not krautrock. Somewhere between Eno and ECM Side two, motorik beat, a proto post-punk kind of thing, kind of near different eras of Can all at the same time, with a Wayne Kramer vocal delivery.

The dissonant harmonisation on the thing that should not be is so annoying, and by the end I'm a bit fed up as most of the songs sound the same. It's got some of their best points but I insist this album is wildly overrated.

Pastoral and autumnal, plaintive and melancholy. Love it. The accompanying musicians and instruments enhance the atmosphere and add mystical harmonies and textures that deepen the mystique of the record. I think this is Nick Drake's second best album, but you can make an argument being his best.

I don't like Cavalera's vocals or lyrics. I like the idea of melding of hardcore punk, maybe a little bit of death metal and thrash; but I think a lot of the time it sounds a bit confused. I can see why people argue they would belong over Anthrax or Slayer in the thrash big four. The strongest parts of this album for me are the flourishes of world music and industrial embedded into songs like Desperate Cry and Subtraction - which are pretty fleeting. If this was a few years older, it would feel incredibly significant.

The Coral were on here already and they sound exactly the same, at least they had a hit on that record. Rubbish

I knew I really liked this, I didn't know I loved it

It's fine but should not be on the list, it's definitely one of their worst records.

It sounds like he absolutely loves himself and thinks he's a genius, but just comes off as a dull tryhard. The instrumentals are usually okay, but let down by aimless, tuneless, melodies, sung unconvincingly by an English A-Level poet

Hate the voice, first song gives Gary glitter a writing credit. Lyrics are rubbish. Mixed loud as sin. However, It's an incredibly strong collection of anthems, even if I don't like them. There are some songs on here which I don't know that don't irritate me - I guess it's a victim of being overplayed to death

Like Helen of Troy, the album that launched 1000 indie bands Its great, but I think maybe a little unfocused at times - Providence doesn't bring anything to the table. Teen Age Riot might be one of the best openers ever.

Sounds like it's being played through a phone speaker, even when it isn't. It's one of my favourite thrash albums, but definitely not my preferred genre

It's halfway between Sade and Whitney, it's dated, but it's enjoyable

So much promise for an early career record, and some songs that would stand the test of time - more of this please

Big band is not really my thing usually; but it's a landmark jazz recording and the band is so tight in a live setting it's very compelling. The mutes, squeal and drawl on the brass are very dated, so can be tiring. But largely great!

Bratty but not good

Her best work, haunting and smart if somewhat patchy

Will feature in my rotation heavily, I loved it

I wish I liked it, but I was completely ambivalent

Like lots of other things I really like - New York Dolls, Heartbreakers, MC5