1001 Albums Summary

Meditations on romantic relationships. I like the instrumentation. I enjoyed the minimalist sound. I found the lyrics to be intriguing. Didn’t hold my attention the whole time.

The musicianship is undeniable. East St. Louis Toodle-Oo is a charming tune that shows off their chops. The overall sound is great, but there’s something about the vibe that bothers me. This feels like music for bros. I guess I liked it better than I thought I would.

I’ve heard these songs played hundreds of times by hundreds of bands but there is no substitute for the real thing. This is later era Muddy but Johnny Winter captures an electric performance. I love James Cotton on this record. This is a true blues record.

I didn’t need to listen to this. I know it well. It’s a fascinating blend of improvisation, composition and production. Peaches en Regalia is an all time classic. It Must be a Camel was my under appreciated gem this time.

This is a fun and innovative album. I ran out of steam after a while.

It’s obviously well constructed, but so so banal. I can see ABBA’s value at a wedding or the comedy of playing Fernando to cheer on your favourite athlete of the same name, but this is not essential listening. AI could have written these lyrics. There’s something so plain about this music. A bologna sandwich on white bread, but at least the bread is decent.

If this were 1001 guitar guys or 1001 singles I’d rate this higher. I love the guitar playing and Sultans is great but the rest of it is boring. It sounds so lifeless. I actually identify with the lowfi approach and even the lazy vocal style, but this record doesn’t put those elements together in a way that excites me.

This was a grind to listen to. I wanted to like it but I just didn’t.

This is a heavy metal classic. Although their popularity was rising at this time, there was still a feeling that this band and music was just for us. Everyone wants to be an expert and trash the mix, but this super dry recording was so influential and defined metal afterwards. The riffs are so sick! Eye of the Beholder is a great example. The drums don’t just keep time, they are amazing parts to the song. Guitar solos are on point. Lyrics are not Metallica’s strong point, but on this record they are what they need to be to support the songs. And to end on Dyers Eve. What more do you want from an album? It might actually be their best one.

This is fascinating. I really liked it immediately. After a while I started to drift, but I suspect it’s deserving of repeated listenings.

Screaming Trees are one of the great Seattle bands. They are as essential as anyone else in creating what we call grunge. It’s strange that this album is here instead of Sweet Oblivion. By 1996 the magic of the Screaming Trees was drying up. This album is good, but not great. Some interesting moments but not an album’s worth. Nor does it sustain the charm and original promise of the 90s. All I Know is a good rock song, and Traveler is pretty cool. I also enjoy the album closer. Every good 90s alternative album has to end with a trippy epic song.

I just can’t get into this record. I recognize Brian Wilson’s achievement but I find it a little boring. It might be different if the lyrics weren’t about Middle America. Maybe. As a listener I’m also frustrated by the wall of sound effect.

Straight ahead fun rock and roll. Ramble Tamble was a surprise. John Fogerty sings so soulfully. I found myself drawn to the drums, specifically the sound, although the performance is also charming. So refreshing compared to modern studio precision and compression. I liked this record more than I thought I would.

It’s ok I guess. Doesn’t jump out at me. Alright is a catchy single.

Inoffensive but so sleepy.

I was stoked to get this album. I love classic era Ray Charles. And this is great. Charles was on his game. However, if I’m being honest, I don’t really love the song selections. You Are My Sunshine is a little too hokey. Stylistically, the vocal harmonies are nice, but old fashioned such as I Can’t Stop Loving You. Not nearly as cool as his regular repertoire. I guess that was the idea but I’d much rather listen to The Genius of Ray Charles.

Six discs of Gershwin and no Summertime.

There are few things I like more than rock and this album is that. From the fast snare intro, to the mega hits, the guitar tone, melodic bass and great drumming this record has everything it should. Green Day likely was never better.

It’s cool. I like the vibe. I’m finding it to be more of a passive listen than active. I like Wobble’s bass tone. Probably wouldn’t seek this out.

This is an easy 5 for me. Billy Gibbons playing is inspired. I’ve always had a soft spot for Jesus Just Left Chicago. I’m amused but also love how soulful they sing about something silly like Beer Drinkers and Hell Raisers. Silly is a big part of rock.

Does any band have the highest highs and the lowest lows than Aerosmith? This is probably their best album. The two hits are great, but there are some low points too.

This is fun music. It’s music for action rather than sitting and listening. It makes emptying the dishwasher a better experience.

This is a fun listen. Love the funky wah wah guitar on Chain of Fools. Some of my favourite r and b songs on this too. People Get Ready always gets me in the feels.

I guess I like this. I like other Flaming Lips more. Nice to listen to but nothing sticks afterwards. They always seem to try too hard to be weird. The result is always “neat.”

This is probably a better album than I’m giving it credit for but the production made it hard to listen to. Probably needs repeated listening but there’s always the next album.

It’s good. Songwriting is solid. The performances are good as well. If I have a complaint it’s that it is too long to hold my attention with standard song structures.

This rocks so hard. Almost every track goes hard. The combination of Changes and FX builds to Supernault in an amazing way, but I find both of those tracks too long. Doesn’t matter. This album rocks!

This is great rock and roll. The musicians are fantastic and of course Joplin is on fire. This album has a little emotional baggage in the way In Utero does. I’m not sure if that adds or subtracts anything for me.

There are some great moments. Sunday Bloody Sunday is undeniable. I could see how people might find Bono insufferable, but consider what California rock is doing at the time. Cum on Feel the Noise indeed. I do start to drift. It’s not a perfect album, but a good one.

Does any band sound more 60s than the doors? Roadhouse Blues is a great rock classic but Peace Frog is an under appreciated gem. A top Doors song for sure. The rest of the album is a little hit and miss. Not even song to song, but moment to moment.

The first track was immediately compelling. By track two I was bored. I recognize the musicianship and creativity but I don’t have nostalgia or a taste for this era of 70s music. So, this is like a good record, but I’m not really into it.

While I enjoyed listening to this, I need more time to really absorb this. In my opinion, Nick Cave is great, but there are too many songs that sound samey. Fable of the Brown Ape stands out as sounding different. Anyway, I may listen to this again when I have time, but I probably won’t.

Although there are some dance beats this is a ‘headphone album.’ It is genuinely fun and interesting to listen to. I didn’t think of this as one of Beck’s best, but maybe I was wrong?

I already know I love this record. I’ve always been attracted to Bemsha Swing. It starts with that great dissonant intro of Brilliant Corners and drags me in. It’s not quite a perfect album because it doesn’t hold my attention the whole time, but I really like it.

This is a good grunge record, but nowhere near the top of the heap. It’s nice to hear the influence of Cobain, but it didn’t really grab me all these years later.

I hardly need to listen to this one. There’s a charm to this album, but it hasn’t aged well. The misogyny isn’t cool. I believe them at face value that they were being dumb punks, because they became super cool later.

When this came out, a lot of Canadian music fans were surprised. We were vaguely aware of pop singer Alanis from our video channel, Much Music. For some it took a while to accept this new version. We used to talk a lot about authenticity. It was silly in retrospect. Listening now I notice that 90s dance beat underneath the grunge/rock guitars. It’s a good mix and creates a feel good vibe. I think the lyrics still resonate today for a lot of people. I’m also charmed by the Canadian pronunciation of words. Not a discernible accent, but clear Canadian letter r sounds. Fun to revisit.

I don’t know who these Bunnymen are but I sure like their sound. I will listen to this again. Really like the sparse sound.

Many blues listeners consider this the greatest live album. I do like it. BB is a master performer and entertainer. This is high energy, and his playing is at that crossroads between proficient and still exciting. I stop short of 5 because I find BB to be more about showing the blues rather than letting everyone feel it.

I’m listening to this while walking the streets of San Diego. Strangely matches the vibe here.

There are a handful of rock bands whose first album is both a classic of the genre, and as good or better than anything they have ever done: Led Zeppelin, Van Halen, Black Sabbath and Devo come immediately to mind. This record belongs in that category. I’m not necessarily a Cars listener, but I really like this album. Elliott Easton is on point. Some of the songs are a little puerile, but the best rock usually is.

This is an interesting listen. Lots of ear candy and variety of songs. I know it’s irrelevant but this record alone is so much more rewarding than any Oasis album I’ve heard. Like many CD era albums, it’s too long for one sitting, but to my ears the quality remains steady throughout.

A top 10 for me. 5/5 without reviewing. Although I did be listen for the pleasure of it.

Another all time great Canadian band. This is likely my favourite offering from them. King Harvest is my favourite track. I have to admit, this album has become a little stale to me due to repeated exposure.

This album is good. The rhythm guitar has more than a passing similarity to AC/DC. Ian Astbury is a powerful singer, but I think these songs are meant to be experienced live. The singles are catchy, the rest rocks, but is a bit forgettable.

This is one of Young’s defining albums. I like the structure and I don’t think it’s been over done. I would have time for more albums featuring an acoustic and electric side.

There’s a lot of information here. It’s definitely fun. Cool bass throughout. There are so many voices and I don’t have the cultural/genre specific background to differentiate a good vs. great funk album. I enjoyed the experience but I likely won’t listen to this again.

You probably know this but Tom Waits defies explanation. Maybe he’s like coffee. Tastes terrible at first but overtime you begin to love it, and I do. There is so much Americana here, but told from the upside down. And then there are moments of absolute beauty that you have to look for. It’s also worth noting this was released in 1985. Completely out of step with anything that was going on at the time. It’s definitely the best thing Keith Richards was a part of since Exile on Mainstreet.

Has an intimate charm. A little dull. The songs don’t stick with me.

I’ve heard this record so many times. It’s foundational. I’m still impressed with how good it sounds. This one suffers a bit from too much exposure. It’s become a little stale. Ramble on is possibly my favourite. I can’t help to giggle about the Tolkien lyrics.

This predates the idea of an album as an artist statement. Rather it’s a document. I’d like more of that in my life. Big band swing is so fascinating to a rocker such as myself. Swing is so sophisticated and the Duke is the King. I enjoyed how Ellington introduced players and gave a few notes to the audience, implying they are all educated about the music. When the music starts the energy is so high. It’s probably 5/5 but as a passerby I likely would only play this out of curiosity.

An imperfect album but the one that started it all. RIP Ozzy.

Synchronicity II is worth the price of the album. I bought it for 8 bucks so … There is a mega hit and sublime pop such as King of Pain. But there is also dumb moments like Mother and a few boring spots as well. Overall an interesting album but I’d be just as happy with half of these songs.

As a rocker at heart, this is my favourite Radiohead album. I understand that the band would have largely been irrelevant by now if they just kept making records like this, but this is nonetheless the sweet spot. Maybe it sticks out precisely because it’s their only proper rock album.

Big dumb rock, which I like. I could see putting this on once in a while.

I like reggae, but for me it is best experienced live. I happen to like this quite a bit but I could only imagine how much more transcendent it would be in person. So, as music I would rate it high, but as an album not as much.

A better listen than I thought. The opening track is really fun. I was bracing for Candle in the Wind and it turned out pretty good. Plenty of hits here. The musicianship is great too. I particularly enjoyed the vocal harmonies. However this album is long. I just don’t need this much in one sitting.

This is one of the all time most important and influential albums. It inspired so many things, from recording at home, to basically being the foundation to Americana, alt-country and indie. All this from four unassuming Canadians and one American. I like all of the songs but boy oh boy Chest Fever rocks. My only crtiticism is that I’ve heard this so many times and it’s become a little stale.

Maybe not my favourite new wave era electronic album, but’s cool. I’m fascinated by this time period and the creativity involved. It’s rudimentary but interesting.

I’ve always liked this record. I don’t remember a time when it wasn’t in my life, and I was born in ‘75. It’s there among the other music of the time in my very earliest memories. It’s hard for me to be unbiased, or separate it out from other popular music. I guess it’s punk, but I don’t really care. The performances are great and the record sounds great. Also it rocks really hard.

I like it. Don’t love it.

Jesus this is terrible. I don’t mind Cohen’s monotone drawl but I mind how cheap and disinterested everything else sounds.

This one takes a while to get going. My favourite aspect is the rhythm section. It gets funky in a specifically Bowie way.

Hell yeah. This rocks!

I recently reviewed The Bends. I like that one a lot better. Actually OK Computer is great, but it overstays its welcome in my opinion. I get tired of Yorke’s voice, but I do enjoy the soundscapes.

I like all of the components. The songs, instruments, arrangements etc. somehow not quite greater than the sum of its parts, but I would listen to this again.

Fascinating and quirky. I will likely listen to this again. There’s a lot to process and like most cd era albums, I find it too long.

I know they balk at the term yacht rock, but listening to it makes me sea sick.

This was a fun listen. They have riffs for days and and the precision is impressive. I’m not likely to play this very often but it’s a metal classic.

The 80s is a curious time period for popular music. The promise of new wave and new technology was infectious. This record represents the apex of that promise. After So, the music of that era started to change. It wasn’t as fun or inspiring anymore. I actually prefer Gabriel’s first untitled albums because of the promise they represent. This one is fully formed and lesser as a result. In Your Eyes is sublime, and there are a few more interesting moments here, but overall not my favourite Gabriel offering.

I don’t have to say much about this do I? It rocks so hard.

I liked the vibe immediately then got bored fast.

Definitely interesting. Didn’t quite cross the chasm of translating creativity to engaging me as a listener. I had the sense I might be missing the context of Fever Ray, which is often a big part of how much I enjoy an artist.

This has a certain nostalgia for me. I don’t actually know Red Snapper but it reminds me of the year I spent in Europe around that time. That being said I only need a track or two, not a full hour.

Another rock classic. Objectively the song is kinda silly, but this record is worth the price of the guitar solo on Child in Time.

I don’t speak French so the lyrics are inaccessible to me. That doesn’t bother me but his voice doesn’t transcend language barriers. Imagine listening to Primus without understanding English. There are some interesting musical moments. Some sweet harmonies up against dissonant ones. It’s probably a better album than I had time to give to it.

I enjoyed this album more than I thought I would. In particular Steve Howe’s playing is captivating. I think this is Yes at their best. Leaning toward pretension but not crossing into completely inscrutable. Yes sir, I like it.

In all these years, I’ve never been interested in this album save for a few moments. Vincent Price is cool on Thriller, and Eddie’s guitar solo is badass. McCartney’s contribution is an absolute stinker of a song. Now that I’ve done this, please don’t make me listen to Thriller anymore.

For better or worse, this is the rock and roll album. The Stones at their most Stonsey. They have better songs on other records, and likely have better constructed albums. Exile is so beautifully flawed. Its fidelity is imperfect and the mix is a little muddy. But it’s raw, decadent, defiant and just has a vibe. I don’t love every song, but this one isn’t about its composite elements as much as its sinister party atmosphere.

Interesting. Thoughtful. Intellectual. Ultimately forgettable.

This makes me want to learn Portuguese. The musicianship is so high. It reminds of 70s fusion jazz, which I’m not a fan of, but I suspect this came first. I like this music better than Weather Report. This would likely sound great on vinyl.

There’s no doubt this is pure rock and roll. It’s fascinating to hear such an early example. I’m not likely to listen to this very often, but it is cool.

The early 90s was such an interesting time for popular music. Everyone knows about grunge, but its most important legacy in my opinion is how it opened the door for so many others. One of the phenomena was artists that had been interesting in the late 70s/early 80s getting another shot. This record seems to thread that needle of 90s sounds but still capturing the new wave spirit. I like it.

This album is so cool, and makes you feel 10% cooler listening to it. As a nerd, I need all I can get.

Rubber Soul has been a favourite of mine for a long time. However, I think some of its charm has worn off on me. I remember when my family first got a microwave oven. It changed everything, but now it seems like standard issue. Perhaps Rubber Soul is a bit like that: revolutionary but so inseparable from our daily lives we fail to notice its miracle.

Dropping acid and dancing all night was never my thing. As a sit down and listen experience this is a little dull.

Coldplay puzzles me. They seem like nice chaps. Chris Martin is talented. But who is this music for? It’s inoffensive, but I have no motivation to listen to it. Clearly a lot of people do, but to me it’s like watching the home and garden channel at the dentist office because it’s on. Coldplay music is just on somewhere. Nothing I want to pay specific attention to.

I try to be conscious of the fact that not all music is for me, nor will I get it every time. With that in mind I found this a painful listening experience. I found it difficult to either identify with the content, or be curious to know more. It just sounded dumb, but not in a fun way.

This is such a quirky album in a super charming way. It gets a little better with each listen. I used to find the sound of the Pixies abrasive, but the more I listen to them that changes. Kim Deal really stands out to me in both her voice and bass sound. Anyway, great album.

This album is great. Ray Charles’s music is so cool. For a long time this was an album I could put on with company over and be pretty sure it would land with everyone. It’s not quite perfect, but pretty damn good.

Highway 61 is one of my all time favourite albums, and it’s not even in my usual wheelhouse. I don’t usually like verbose lyrics, which Dylan is noted for. But this record is special. I love the way it sounds. You can hear all the instruments. No annoying layering or compression. Just a great sounding document of really interesting performances. There is a tentativeness to all of the player, save Dylan, that I find appealing. It sounds like these songs are being played for the first time, which I think they are. Mike Bloomfield rips on this record. He has the perfect guitar tone, a sound that is from another time, but perfect. The acoustic guitars sound best when they are simply miced, as they are here. Desolation Row is probably too damn long, but whoever is playing lead acoustic guitar keeps me interested. I could go on about my love for this record, but suffice to say it’s 5/5. By the way, I am not a boomer, but it was part of my boomer parents collection. That perspective probably has something to do with my love of this album.

People love Prince. I’m not as enamoured. The two hits to start the album are good, and then it gets less interesting. There are more moments than just that, but there is too much information for me to absorb in one sitting.

This seems like it was a great night. Sounds like a document of a cool concert rather than a perfect album experience. It seems ahead of its time. It reminds me of Krautrock with louder guitars.

This album perplexes me. There was a time in my life when it was pervasive. The performance would suggest he’s a big star, but this is the album that made him so. But who is Peter Frampton? I know he was the lead guitar player in Humble Pie. I’ve never met anyone who cared about that band. He’s sorta handsome, but not that handsome. He can shred, but that’s not really on display here. He’s got songs, but most of them are pretty bland. Yet people in audience go crazy with everything he does. They really seem to like the talk box, most famously on the last track. I like the talk box too, for a bit, but it goes on and on. This record doesn’t offend me, but I’m not motivated to listen to it.

At times some of this works. A lot of it doesn’t. If the British Invasion bands of the 60s were the elite, then their American counterparts might be bands like the Byrds or Buffalo Springfield. I might be excited if I were a teenager in the 60s and Paul Revere et al came to my local community hall, but they are clearly a league below the Who, the Kinks, and the Animals.

I can see why so many people find this album compelling. Lyrically it’s saying things that no one was talking about. Unfortunately the music just doesn’t grab me. Trying to be cooler than cool.

I really enjoyed this. Similar to James Brown Live at the Apollo. This is music you could put on for almost anyone and they’d likely enjoy it.

I like this record a lot. At times I have become obsessed with John Barleycorn must die. It’s an old English folk song and keeps popping up in different versions. The rest of the album is pretty jammy, but doesn’t overstay its welcome.

I like this album. It’s grandiose and sounds great. Not my usual listening. Madonna tended to respond to trends rather than create them, but like Bowie was aware of them before a lot of people. This record reminds me of a lot of the sounds we heard in the late 80s. This is probably a good time capsule of what was popular in 88/89. The songs tend to be too long, and like most big pop stars, the singles are the best songs. Like a Prayer itself is epic sounding. I’m probably being too generous, because it isn’t a perfect album, but it’s more enjoyable than a lot of records on this list.

I guess I liked this better than I thought I would. A little more lofi rock and roll than their big hits. However if we’re going to include a garage rock record, why this one? It’s not special, nor is the band interesting enough to justify making their background essential listening. There are plenty of other bands that deserve attention if we’re including straight ahead rock.

I have a soft spot for electronic music from this era. At times it sounds like somebody cycling through all the presets of a Casio keyboard. Of course Heaven 17 likely didn’t have such a device. They had to invent it.

I bought Metallica the day it came out. I still have the cd. I played it a lot and it was an important album to me. Sonically it was a monster. However this record has steadily faded over time. It was supposed to sound more live, but I don’t hear that. Never have. The lyrics are terrible, and Hetfield continues to write self help songs with weird grammar today. Unforgiven stands out as kinda dumb. But, the musicianship here is great. I actually like the two elements that tend to get the most criticism by metal heads, namely the drums and lead guitar. I don’t understand why they get so discussed. Lars’ parts are integral to every song. More than just a groove. Kirk’s solos are so melodic and full of fire. Overall a flawed album but a rocker nonetheless.

I don’t know anything about the musicians, but every time I hear this, it sounds a little churchy. Maybe not church but what I imagine hippies sounded like during the Christian revival phase. This is pretty music but something about it makes me feel wary.

Possibly an important historical document. Now turn it off.

I’m not a huge REM fan but they have plenty of great songs. I think this is my favourite because it has the highest concentration of songs I like. Stand and Orange crush are two great pop rock songs. Some of the songs drag a bit. To me that’s more to do with Stipe and his singing style than anything. He doesn’t really have a voice that can carry the emotional weight of a song by himself. Good album overall.

I like Nick Drake. I really enjoy his guitar playing. The songs are good but I probably need to spend more time with them to get full value.

This was a pleasant surprise. I really like Newman’s quirky lyrics and cadence. I was amused by the phrase as happy as a monkey in a monkey tree. I like the sparseness of most of the arrangements. There’s something so satisfying about listening to the chords on the piano.

Suffice it to say it rocks but I never want to listen to it again.

This is a charming collection of music. I particularly like the Zappa cover, Chunga’s Revenge. I actually heard this once over 20 years ago in a French dormitory. I confirmed it with my sister. Something about it must have stuck in my mind. That being said it might be another 20 years before I play it again.

If you know you know. If you don’t you’ll never get it. One of the top albums of all time from the album era.

I like it. I don’t have a lot of experience with this music so it’s hard for me to pass judgement. I could see listening to this again.

Interesting but it didn’t really grab me. I may like it better on a different day.

I like the Talking Heads. Really interesting and creative. However they never seem to fully captivate me. Maybe because the music is so nervy and stressful. Good album, but not one I’m reaching for more than once a year, if that.

This record is a gem. It’s the perfect example of “oh yeah I love these guy. I should listen to them more.” Then you don’t. It’s also a great band name. Brass in the pocket is a fantastic single. Not all of the songs are equal, but a good listen.

Not without value for me but likely more fun to play than listen to.

Damn that’s smooth. And a little sleepy.

I like Nick Drake and this is the best one. This recording is so haunting. You get the feeling you’re in the room with him.

On a busy day it was hard to find time to listen to such a long album with my full attention. It has a lot going on in it. Given enough time and focus, I’d probably like it. That being said, if it were something that I really resonated with, it would have cut through the business of my day.

I’m a Rush fan, so I’m going to give this a favourable review. It’s not actually my favourite Rush listen. I prefer Permanent Waves/Moving Pictures. This has a pretty silly rock opera, but it rocks so you just accept it. I suppose the elephant in the room is the Ayn Rand connection. In isolation this might bother me, but this was so long ago. Neil Peart read a book in the early 70s. These guys went on to be some of the nicest guys in rock. No neo conservative shenanigans. They supported diversity and human rights. Given an entire career’s worth of evidence, I would trust them as humans more than I do other supposedly cooler rock musicians.

At first I wasn’t very interested in this, but it grew on me the longer I listened. Fun rock and roll. I’m assuming this is a fun live band. Probably not the first record I’d reach for when I want some garage rock, but not a bad choice.

I got another REM album recently. My reaction is about the same. It’s good but I’m not very interested.

This is a fun mini album. It’s so short it was my entire playlist for a 2km run. Nihilist punk rock is paradoxically a fun time. I really like Greg Hetson as a guitar player. I miss him in Bad Religion.

This album is beautiful. I can’t think of any other collection of songs where the story telling is so vivid. Possibly Gordon Lightfoot, but this is more consistent. I wish lyrics were written this way today. Not necessarily about gunslingers, about anything.

There’s some interesting moments. I like Stevie Wonder, but one of my least favourite things is 70s adult contemporary music. There’s a lot of that here.

I enjoyed this. I can hear some of the building blocks that would become 90s indie.

I like the Talking Heads but I like this better. I would love to be part of the scene where this is dominating. Not perfect, but very cool.

Had the potential to be pretty, but ultimately very dull.

This is obviously on its way to the sound of Bitches Brew, a record I do not enjoy. In a Silent Way has more to offer. I prefer the groove on track two than one. I could even imagine putting this on once in a while.

Yup. It’s reggae.

This turned out more interesting than I thought it would be. There are moments that are great. In fact most of it was great, but sometimes the 70s guitar sounds bothered me. I’m sure everyone who listened to this reacted to the album cover. I have to say I’m not a fan. However, it sure makes this record stand out. Who would notice this album if it just had a picture of an avocado on it, like that Pearl Jam record? Even so, blech. Interesting music, dreadful album art.

I had Peter Tosh two days ago. This is possibly a step above for a non reggae consumer, but not something I’m reaching for unless I’m looking for background music when company is over.

I’m already a big fan of this record. It’s so visceral and haunting.

I was kinda excited to get this album but ultimately disappointed. They used to play Venom videos once in a while on TV late at night when I was a kid, and they scared me a little. Listening now they are so silly. Too silly to be taken seriously. And the fidelity is awful. I might put this on out of curiosity, but then turn it off after a song or two.

I know some people like this album. I for one care less for it.

Probably the best possible example of this kind of music. I like it but it’s not my favourite musical place to be.

If you just want to rock, this is a solid choice.

I don’t have any honky tonk heroes but I guess if I did, Waylon Jennings could be one.

This is joyful music. I actually have no idea if it’s intended that way, but it’s not really headphone music to me. It’s about playing loud on big speakers if possible and dancing while you carry on with your day.

This is one of my favourite albums from the 90s. Together with Check Your Head they are revolutionary. It was inspiring how three pretty mediocre musicians with maximum creativity made something that was hip hop, punk and trippy jammy at the same time. I do find the jamming interesting, especially with the inclusion of DJ elements, but could do without “Flute Loop” and a few others. Not a perfect album, but great.

When I was in grade 6 I had to do a book report on Journey to the Centre of the Earth. I attempted to read it the night before. I liked it but as you can imagine, I came up short. Same with this album. I left it until the end of the day. I was surprised to find out it’s a double album. I also realized I wasn’t going to get the full listening experience on one play through. Too bad, because even though I recognize it as possibly an excellent achievement, I’m not likely to return. Same as I did with Jules Verne.

This album hits hard at first and then gets less interesting the more I listen. It sounds like a music guy record made by music guys. That album cover is weak. Good to put on and groove to but not my favourite listen.

I really like the Kinks. One of my all time favourites. I’ve spent a lifetime being fascinated by Ray Davies songwriting. I like Village Green, but if I’m being honest, it only gets me halfway there. It’s particularly because of the lack of fidelity, and partially because of the conceit of the project. As a North American, I’m curious about English culture and lifestyle, but a whole album’s worth overestimates its value to me. That being said, Picture Book always lodges itself in my ear for a while every time I hear it.

My first music language is rock. I’ve noticed Gen X rockers like me are more likely to identify with this kind of hip hop, and I am no different.

Fun and energetic. A good live album.

Like many good pop albums this one starts with a fantastic single and then settles into some less interesting songs. I don’t think Kate Bush is guilty of adding filler, but the single is stronger than anything else on this record.

I like its intent more than I do its execution. This probably isn’t meant for just anyone. If I were buds with these guys I’d probably love it, but as a random listener it doesn’t translate.

Not my favourite Bad Brains but any album of theirs is better than most.

I can’t believe Brown Sugar has been around for over 50 years and it wasn’t until the Stones themselves decided not to play it anymore that it became topical to the general rock audience. It’s not my favourite Stones song but still. I like this album overall. Sway and Can’t you Hear me Knocking are stand out tracks. This could be 5/5 if not for Brown Sugar.

This is not my favourite style of music. This one has a bit of a spark that a lot of British electronic music does not. Extra point for Rockafeller Skank, which I heard a lot playing FIFA 99.

I dunno. This has potential, but I just didn’t get into it.

This might be my favourite listen so far. I want more avante garde and less top 40 rock. I could turn on the radio or listen to the Muzak at the grocery store any day of the week if I wanted to hear Kings of Leon. The purpose of album generator is to be exposed to weird statements like this.

Early Miles Davis is hard to beat. This is an all time classic.

Radiohead was so popular. Maybe they still are. I find most people I know like them but are tired of them. Same for this album. I like it until I get tired of it. I’ll rate it higher for its adventurousness.

There isn’t much that appeals to me here. Trent Reznor is a smart and creative guy, but I don’t want to spend time in his world.

The Pixies are so cool. Their sound is unmistakable.

I occasionally enjoy pop punk but it’s largely run its course. This rocks harder than most and is a little above average. Extra point for the extra energy

Well executed from a technical point of view, but lacking in soul. Reminds me of German Schlager.

How great was Public Enemy. Chuck D has a voice of god quality. Flavor Flav would be too much on his own, but is a great foil to Chuck. This is probably their masterpiece.

I find the intended audience of most recorded music is the youth. Youth can be defined in any number of ways, but ultimately young carries the day. Indeed, adult contemporary is often used as an epithet isn’t it? This album is clearly for grown ups. Armstrong sings about adult issues and it is not especially chaotic, loud or audacious. Ironically adulthood in the 70s was likely people in their 20s but whatever. I find that I appreciate the maturity of this record, but true to form it doesn’t quite grab me in an irrationality emotional way.

I have a confession to make. I’ve never really gotten into Marvin Gaye. I’m sure he’s as talented as people say, but I’m just not into it. Over an hour of what appears to be a break up album was not my thing.

This started and I thought, no, don’t stop rockin’. Then nothing else happened for the next 40 or so minutes. It wasn’t long before I wished it would stop.

I liked this when it came out. They used Take Me Out on NHL 2005 which means I’ve heard it way too many times. The vibe was a reinvention of XTC and other new wave bands but ultimately I’d rather listen to them.

This album carries a lot of baggage. Maybe more than any other. Listening to it now I felt so nostalgic for this little band. As much as these are Cobain’s songs, so much of the sound comes from Novoselic. His bass playing is so melodic. I wonder what it was like for him to be band mates with Cobain. Anyway, great rock record if you can separate the listening experience from the collective trauma.

I’m reasonably sure I’ve neither heard of John Martyn, nor listened to him before. I like it. The sound is compelling. The atmosphere is slightly darker in an inviting way. I’ve always enjoyed I’d Rather be the Devil and this is a cool version. The other songs are good. His voice doesn’t quite carry you for the entire time, but the album is really good.

I know everyone loves Kendrick Lamar. Honestly, it’s so much talking. I just don’t care.

I’d like to think that music from an alien species might sound like this rather than what those jazzy muppet guys play on Tatooine. Or, this might be how aliens will receive the songs on the Voyager. Johnny B. Goode would be completely inscrutable.

Sorta sounds like REM without any edge. Inoffensive but not what I would normally want to listen to.

Listening to this I realize I have so many life stories attached to this record. My parents took me to see this concert. Sonic Youth opened. During the grunge era, Young was an elder statesman for many of us, and this was the record. Young’s guitar is maybe at its best here. So melodic and more than a little ragged, as the title suggests. The intro lick to country home and the riff to over and over get stuck in my mind all the time. Love and Only Love is maybe one song too many to my ears, but what the hell? I love this record.

These songs and performances are great. They are the best versions of these songs as well, including Satisfaction. This is a record that I can put on anytime and it’s always a good choice.

KD Lang comes from the same province in Canada, and she is one of Alberta’s best cultural exports. Her earlier work has more of a saw dust edge to it. This whole album is smooth like melted chocolate. Not my usual listening preference but this is really good.

In the 70s, ZZ Top was like your favourite dive bar. Their sound reminded me of beer stained tables and the smell of smoke. Not healthy but comfortable. In the 80s it’s like they got someone to come in and renovate the place. New finish on all of the furniture. The beer stains are still visible but they’re under the new finish. I was surprised that there are still a few great riffs on here. Legs for example. But they don’t land as hard because of that 80s rhythm production that forces everything into strict alignment. No longer my favourite dive bar. If I wanted fancy, I wouldn’t go here.

Cool jazz cats in a nightclub and it sounds exactly what you think it sounds like. Vaughn has a good report with the audience, which is interesting, but I always struggle to generate much interest in rain in New York or other similar themes common to this music.

Compelling at first but gets tedious fast. I’ve always struggled with this production style I have to admit.

Is there any band that sounds more neurotic than Talking Heads? Some music is drug music, others are beer songs, but this reminds me of caffeine music. Hyper and nervous. I find Once in a Lifetime stands out not just for being a hit, but being structured like a pop song. The rest of the songs have a formula: start with nervy groove, add opaque lyrics, then dissonant guitar solo. I like it but it does sound samey after a while.

He’s got talent. Nice guitar playing. Pretty songs. I’m just not very interested.

I was surprised how much I enjoyed this. I know it’s considered a classic, but I don’t like Delaney and Bonnie, so I pre judged. Not that wasn’t already somewhat familiar. I enjoyed the performances mostly. I can’t get wah wah out of my head. What is Life is a favourite and the emotive guitar on I’d Have you Any Time is nice. There are some duds on here but it’s a good listen.

Holiday sounds like she is fighting to get the sounds out. The contrast with the really delicate arrangement is striking. It’s a haunting performance.

On this one, REM mixed indie sensibilities with a bit of acoustic instrumentation. They didn’t follow a country or folk format, just borrowed some of the sounds. I really like Peter Buck. He stands out as a guitarist. Michael Stipe is what makes REM but at the same time I get tired of his voice. Really good record. Not perfect.

It’s an intellectual experience. Interesting and neurotic. When the album was revealed I was disappointed because I wasn’t up for a tedious listen. Some people claim that Radiohead is effortlessly compelling to them. I think they’re lying. They can be rewarding but it’s work.

I’ve been in love with this album since junior high school. I still am.

I’m not so sure how essential this is. The artist even less so.

It has a certain charm. I like You Can All Join In and Feelin’ Alright. The album has a quirky jammy charm. It seems as though Winwood doesn’t stretch out his vocals here the way he can. One thing about these songs is that they definitely sound of their time, which makes it seem dated.

Not something I’d put on regularly but fun once in a while. I have a feeling that if I’d been a New Order guy already I’d be all over this but listening now it doesn’t really move me.

Cool. Hypnotic. I don’t think I’m done with this one.

Tim Buckley seems like a wild man, which is appealing. This album is fun, but at times Buckley is too much.

Imagine a group of 13 year olds who were given the task to create an art project about environmentalism. It’s not always focused. It’s mostly kinda dumb. But these kids have crazy musical talent. That’s what Surf’s Up sounds like to me. I’m not likely going to listen to this again but audacity in art should be rewarded.

It’s got a few moments but sounds really stale to me. It just doesn’t have a place in 2025 other than as a historical document.

I’m not sure how essential this is.

I kinda like some of the instrumentation. But, Hendrix was admonishing Joe for killing his wife, Yoakam was telling it in first person. That ain’t too cool Dwight.

A slow burn punctuated by a few high moments. Higher Ground is a notable high point. Visions sounds a little like an early King Crimson song. This album is a great headphone listen.

Another example of a dusty old historical record that does not reach out from the 60s and provides entertainment in 2025. Kinda interesting at times but ultimately quite forgettable.

This was probably a great band. They sound so lively and fun. Unfortunately the only song that sticks with me is the hit. If I was reviewing singles then Come On Eileen would be 5/5. As an album I don’t find it interesting enough to hold my attention for the whole time.

This album suffers somewhat from over exposure. There are nonetheless some great riffs and other cool moments. I’m particularly interested in all the Tolkien references interspersed with regular rock stuff. Highlights for me are Battle of Evermore, Misty Mountain Hop, and When the Levee Breaks.

Frank Zappa is a complex figure. Growing up he was important to. As I got older I realized that a lot of his takes are that of an asshole. That being said, his creativity and ability is undeniable. I love this record. It sounds more like the angry observations of a misfit than whatever he became later. The hippie generation is a bit of a sacred cow for rockers. It amazes me that he had the audacity to make fun while it was happening. Also, this record is thoroughly engaging, from the melodies, to the noises, the weird voices and production. What more do you want honestly?

You can hear this guy has some talent, but there’s not much to bring me back. Very sleepy.

This is so fun. Every track has hooks for days. Rock Lobster has so many sonic surprises. This album rocks.

It has its moments. This album has some baggage that can’t easily be extracted from the listening experience. Of course it carries the fallout of Nirvana, but this would also become the template for modern rock, which has been played well past its best before date.

A refreshing bit of pop music. I like it just as much in French as I do in English, even though I don’t understand French.

I got into this record in junior high school. They are the perfect band for that age. Heavy but also silly. This is their best record probably. The melodies and drumbeats on Indians seem to be inspired by colonial movie versions of Indigenous people, but the grooves really work. I suspect most Indigenous people wouldn’t mind, but my opinion doesn’t matter. I find the production a little thin. A product of the time I suppose. The fidelity of Anthrax records would improve over time. Also, the rhythm section of Benante, Bello and Ian is the best in all of thrash in my opinion.

I had Anthrax (the band ha ha) yesterday and wondered if Metallica were overrated. The universe provided me with their best album to compare. It turns out no, not at their peak. This is a perfect heavy metal album. It might be the best metal album ever. I’ll just leave this 5/5 review and let you decide if you agree.

I really enjoyed this. It could almost be a perfect album if not for one fact. The singing, as is true of many modern recordings, lacks dynamics. I get tired of listening to that voice even though the arrangements are so interesting.

This is a fun one. I am particularly smitten by the bass playing. London must have been a weird and interesting place in the late 70s. Punk, nwobhm, and Ska all competing for space. Anyway, the Specials is one of those records I don’t think about much but it’s always a good choice.

I got two songs in. Just no.

What should I say about this? It’s the most Dylanesque Bob Dylan albums. It’s great.

Cool band. Reminiscent of Fugazi, who I really like. I don’t tend to enjoy scream vocals.

One great single and the rest is boring.

I was really hard on another Cohen album. I hated the production more than anything. This is how to frame Leonard Cohen songs. Sombre, haunting and matches the patina on his voice.

I’ve heard much about the bass lines of Peter Hook. Turns out they’re pretty cool. The vocals do tend to sound monotonous over time, but I like the band.

I like the first two Elvis Costello records. By the third one it starts to get less interesting. I like the Attractions as a band, especially the bass player. Costello’s songs have a tendency to be too wordy for me.

It has its moments. Dy-Na-Mi-Tee is catchy and stands out. As an album I found it needlessly long. I suppose it would be good to have on at a party, but I don’t want to sit and listen.

I remember when gangsta rap and California hip hop became popular. My impression then as a hip hop outsider was that the new sound ruined the fun. In some ways I stand by that. Snoop is silly but this has a dark side. I mostly object to the misogyny of this album. Snoop conjures a universe I don’t want to spend time in.

Has a bit of a Nick Cave vibe but for my generation of listeners. I’m not sure why I haven’t listened to Smith before. I’ve been aware of him. I like this. I’ll listen to more.

My god this is dull.

I have no further interest in listening to this again.

This was apparently the first album they wrote and performed themselves. It shows. The songs are very pedestrian.

It does all the things that Queen does but doesn’t work for some reason.

I love this record. Evan Dando is such a good songwriter. His lyrics are so quirky, at times dark, but always with a charm that is undeniable. The playing is great and I have a soft spot for this kind of sound: grungy electric guitar, acoustic guitar and melodic bass.

What’s cooler than being cool? Miles Davis.

This is somewhat obscure to my own experience, but damn it’s cool.

Fantastic musicianship. Not at all what I want to listen to

I’m sure a lot has been made of the songwriting and singing. I like those but Mitchell has a knack for groove. All of the guitar based songs have an infectious rhythm that I enjoy a lot. It’s so interesting because this recording is so minimal.

I admire the attempt but ultimately nothing really stayed with me.

This is very mid. Cool rock swagger. Doesn’t offer much else.

I had no idea what to expect. I knew he wanted to bang on the drum all day, and that he produced XTC and later Bad Religion. This is a lot weirder than I expected. I actually admire the concept. I had a tough time getting through it though. It’s probably a 4 but I’m reducing it by 1 for being too long.

Good I guess. Not an album I want to listen to. I think my problem is that the first song reminds me of all those dumb British romcoms.

If Nick Cave were a member of the Cruisers, Eddie would call him word man.

A enjoyable album. Most pop albums have a few singles and a lot of filler. This is mostly good start to finish.

🎶🌑😎💖

A talented guy but too cheesy for me.

How cool is Can? Ahead of their time on many fronts. I find the drumming to have a modern sound and rhythm. I already started listening to more Can.

I’ve seen so many bands like this open for the one you want to see. At first it has promise, but within 5 minutes you hope it’s over soon. There is a distinct lack of fun here.

I’ve got soul but I’m not a soldier if you know what I mean. Actually I don’t but it’s the best moment of the album. I think Queen is likely the Killers spirit animal, but the singer has perhaps half the charisma of Mercury.

I can’t listen to Seven Nation Army anymore, but that is because of its success. I don’t listen to White Stripes anymore but this record is solid. In some ways it is like good rock records from the late 60s, but it is also its own thing. Possibly the last rock album to make a serious contribution to popular culture.

It’s definitely smooth.

Started off cool but then nothing else happens.

It sounds like it’s trying really hard to be edgy. I think if I bought this CD at the time I would have been disappointed.

Wainwright is clearly very musical. However, I find it very very tedious after the first two songs.

Joni Mitchell rocks. Always really interesting chord voicing. Great groove and disarming lyrics. Raised on Robbery has always been a favourite and it features some great rock and roll guitar by Robbie Robertson.

There was an episode of the Amazing Spider-Man where J. Jonah Jameson was invited to see this new rock and roll band, the Squawkers. Unfortunately the Fiddler wiped them out. The Velvet Underground remind me of the Squawkers. There were there to embody the rock and roll spirit, and to annoy squares, but if the Fiddler erased them I wouldn’t ever think about them.

I like it. I appreciate the more stripped down arrangements compared to other similar pop albums. I could have used more Q-Tip on that one track.

I don’t think it makes sense to rate this one way or another next to Fleetwood Mac. This is clearly an artistic statement. It sounds like a missing link between Krautrock and Industrial music. I must admit I have more interest in the former than the latter. In this case I don’t think it’s useful to ask if it’s good or bad, but rather is it successful. I think it is.

It’s fine but also no. In the 90s when I was at a party or a club that played this music the vibe was always gross. Everyone in their own world instead of being together.

This falls under the category of albums I love irrationally. I like the songs and the quirkiness of Barrett’s lyrics and delivery. I’m less enthusiastic about the jams. The album title is maybe one of the best of all time.

I enjoy the fidelity of this album. The vocal harmonies and the acoustic guitar sound great. All the details instrumentation is interesting and well recorded. That being said it’s also kind of a dumb record. There are some nice songs here, but also some clunkers.

I suppose they are good musicians, but this never moved me. If you live in Canada, you end up hearing Canadian artists a lot if they happen to become internationally famous. That applies to Arcade Fire, and there just isn’t enough to keep me all that interested over repeated exposure.

I imagine this record was important to the Beastie Boys during the Paul’s Boutique era. It reminds of the type of 60s/70s they mythologized. For me, I’d like the songs more if they weren’t so long.

An interesting listen. Surprising at every moment. I enjoy an album with so much on it. That being said there wasn’t any single track that stood out for me.

I really like this album. It really takes me to unexpected places. The performances are so visceral. That has a lot to do with the main musical vehicle is the human voice. This is also a great headphone listen. The mixing and production of this record is excellent.

I have found the Black Keys to be disappointing. I don’t really mind their band. I imagine seeing them live in a small venue would be entertaining enough. That being said they’re good enough to open for someone else, not headline arenas. They come across as a rich man’s garage band, which nobody asked for. I’m probably being unfair but I’m rounding this one down.

This album is dated. I often like music from the past but this one stayed in the 60s. If this is the rock and roll upon which Starship built this city, then its foundation is pretty shaky. They have two decent singles and one fantastic guitar player in Jorma Kaukonen who I would have liked to hear more from. Embryonic Journey is so short and the rest is so tedious.

This is happy music… mostly. It always makes me feel good to hear these guys.

I do like a bit of grunge, and I also like Dinosaur Jr. maybe I just wasn’t into it today but nothing really stuck out for me. The Dynamics are really flat. They got better after this album in my opinion.

This one is good, but not great. There are some all time Stones songs here. Don’t sleep on No Expectations. But the overall impact of the album as a whole is that it drags. If Let it Bleed is rock and roll excess, this one sounds more like a hangover record.

Intellectually interesting. It makes sense that Steve Albini recorded this. For me it’s just too wordy. I can’t consume that many words at once.

What can I say. The Pixies, along with the Melvins and a few others, invented 90s alternative music. Try to imagine a rock world where, say, Poison dominates. The Pixies wouldn’t make sense to the average listener. I’ve always admired the bravery and honesty of bands like the Pixies and their audience.

I remember liking this quite a bit when I was a kid, but not much remains for me 40 years later. There are two strong singles and the rest is largely forgettable. The bass player is much ballyhooed and he delivers. The production is incredibly pristine, which is impressive, but ultimately it’s not an album I’ll reach for.

This album comes with a lot of baggage doesn’t it? I haven’t properly listened to it until now. It’s great. I like the artful haunted vibe.

I like Joni Mitchell but I wasn’t feeling this one. My favourite thing she does is set a groove before telling us a story in her cool poetry. The lyrics here are still great but the overall sound of this record is too 70s California for me. Too smooth. Not enough groove.

This is a flawed gem. I love it. It has a working class sneering quality to it. The Small Faces do all the cool rock things: leslie speakers, dramatic organ parts, big guitar chords. Their secret weapon is of course Steve Marriott’s voice. As a kid I daydreamed about singing like that. Not all of the songs hold up but I enjoy listening to them.

I was looking forward to this. They are such a great band on so many songs. I love their Monterey performance with Otis Redding, for example. This album was bound to be great, right? Outside of the song Green Onions it’s really just fluff. Even the title track is not much more than a vibe. So it goes.

Strange and perplexing. This is a double cd, and never meant to be consumed in one long playlist. It is maddeningly long. Too long. Speakerboxxx is ok. It has good moments. The Love Below is where all the charm is. It’s strange that it’s the second part. Andre 3000 has a lot of charisma that carries a lot of the sometimes stupid tracks. A good album with waaaaay too much filler.

People wax poetic about Nick Cave and his song writing. It’s a bit jarring then that he looks like an undertaker and sounds like a deranged street preacher. And yet, I can’t help but to be drawn in. But once I do I start to drift because he talks so much. I’m overwhelmed by so much vivid lyricism that I can’t focus. So what do I think of this album? It’s better than average but I have to work hard to get the rewards.

The Temptations can be surprising. This is somewhat removed from their 60s heyday. It sounds more aligned with Curtis Mayfield. I like it. Good versions of the songs they perform. I’d be happy if I chose this cd as my second in an hmv 2 for $20.

I have a lot of nostalgia for this era of hip hop. It had a greater emphasis on fun than it did for the last 30 years. It’s a little hockey I guess, but what’s wrong with that?

Those who like it, like it a lot. I for one do not.

Some real groovy moments. Nile Rodger’s guitar playing is so infectious. I like the bass playing as well. Obviously the stars here are the Sledge sisters, and they do shine. I don’t love the strings to be honest, and I don’t really like the slow songs. Once they establish a groove, as a listener I resent any break from the disco tempo.

I found the first song to be novel and interesting. Afterwards I started to drift.

This sounds like generic music a film maker would use as background to a romantic or sexy scene. The music is so bland it wouldn’t get in the way of the dialogue. I can’t imagine why anyone needs to hear this before they die.

Big dumb rock and I love it. Much has been said about Smoke on the Water and its riff, but that guitar solo is so melodic and tasteful. Blackmore may be an early shredder. The difference for me is compared to van Halen, Blackmore’s playing sounds like it’s so much work. It’s so visceral. 4/5.

An interesting listen. Fun arrangements. A few hooks. 40 minutes, which is an ideal album length. A good entry on the list.

Good songs. Great versions. It’s Aretha at her best.

Seventh Tree definitely has its own sound. Not everyone can achieve that. It doesn’t quite reach across and pull me in, but it’s pleasant enough from afar. If someone was playing this in their car as they drove past I’d be momentarily curious, but not enough to wonder who the artist is.

Better than a lot of this kind of music, but it’s not for me.

This is an example of the kind of albums this list should be for. Music that I have no real reference point to judge other than I like it or I don’t. It’s 1 or 5. Well, I liked it quite a bit.

I adore this album. I’ve had a lifelong obsession with the first two Devo albums. They walk that line of being avante garde but accessible. Also I’m sure most of us can agree that theirs is the best version of satisfaction is it not?

This is a band I want to like more than I do. I saw them live perhaps two years ago and they were good, but I always find their energy somewhat muted. There are a lot of interesting hooks and layers on this and other dm albums, and the lyrics are fine, but the singing ranges from ok to bad. I get very tired of listening to David Gahan’s voice.

I’ve mentioned this before on a Simon and Garfunkel release: I like the sonic experience. I enjoy the sound of the guitars and how they’re captured. The vocal harmonies are as well. Cecelia is a notable example of a well executed recording. This album also has snoozers like the opening track. The vibe of this album makes me uncomfortable. This is the sound of Ivy League college students. I don’t know if that’s true but it’s the feeling I get.

I really like the low fi charm of this one. I miss those early 90s days when independently recorded albums were cool. I didn’t know about the Exile on Mainstream connection until now (other than the name of course). I may try to listen to them song for song one day. This one rocks.

Obviously the musicianship on this is great. There are some true rockers. Brighton Rock for example. Thematically, the songs are kinda dumb. Killer Queen is great but also who cares? It’s questionable whether Leroy Brown should be brought back. Good album musically but just a little too silly lyrically.

She’s a good singer, but this is music to wash dishes by. Dull and dated.

There’s something so condescending about Paul Simon in particular. He’s a talented guy but these songs are either pretend or pretentious. The key to successful satire is you have to do it better than your target. He most certainly does not when he makes fun of Bob Dylan. He comes off as the folk scene version of Napoleon. Good at what he does but completely self serving.

I tend to be fascinated by moments that represent liminal spaces. American GIs stationed in Germany performing dressed as monks, in almost direct opposition to Beatles inspired rock and roll. These songs are full of spirit. At times vulgar. They seem to possess punk rock spirit. Interesting use of effects like wah wah and distortion. An example of the kind of thing you want to discover on this list. Who were the true renegades?

His first record is also his best. What an audacious debut album. In general, I find Costello’s songs too wordy, and they’re definitely pushing that line here, but there are enough hooks to keep my toes tapping.

Well, it has a lot of great musicians on it. At times they make a joyful sound. But this is the third Paul Simon album in a week. Enough. Why does he get so much representation?

This was a new art form in 1989. It’s fine. It didn’t land with me.

Bowie is weird to me. I love a lot of his songs but I’m not a Bowie guy. I find he is more of a greatest hits artist than anything else. This album doesn’t interest me. It’s fine. But it doesn’t do anything either. Just more 70s guitar rock.

This is a tough one. It was played ad nauseum on modern rock radio stations in the 2000s, and I don’t need to hear this anymore. The band kinda rocks, but the conceit is so dumb. Soft then scream then soft then scream. I appreciate normalizing mental health but a) it’s not entertaining and b) Nu Metal tended to validate the narcissism of bro culture. Blech. Not for me.

Maybe five years ago I may not have admitted this, but hip hop just isn’t my genre. I like music more than I do lyrics, and this music is so dependent on lyrics. I know this is the one people like but I’m the philistine who can’t tell the difference between good and medium quality. My review therefore isn’t about the album per se, but my experience. Bonus point because I’m probably wrong.

I saw this band well past their halcyon days in a double bill with Chumbawamba at a festival. They shared the stage, like at the same time. It was such an odd pairing but more entertaining than it had a right to be. Both groups were surprisingly talented and mixed well together. Anyway, I don’t find the songs here to be all that memorable but the vibe is mostly positive. This is acceptable music to put on and feel good.

You know, there are some great songs here. Billy Corgan is a good guitar player and a decent songwriter. He’s got a whiny voice, but that’s what we liked in the 90s. However, this album is too damn long. There simply isn’t enough variety or novelty or good humour to justify this length.

Does Hanoi Rock? I’m not so sure. This is bland, uninteresting hair metal that sounds exactly the way you think it does.

Good music for Tupperware parties. If you know what that is then you have a sense of how timeless this record is.

Am I the only one who immediately thinks of the Wonder Years upon hearing Mr. Tambourine Man? They must have used it. Anyway, this music is largely boomer nostalgia. I kinda like the Byrds, but I don’t love them. Three great singles and a lot of ok songs I guess.

Not without its charm I suppose. I actually am impressed with the band. They seem really good. This is very surface level though. Gone is the reckless abandon of the early period. It’s replaced with a carefully manufactured product that only implies rock and roll but isn’t the real thing.

King Crimson is the best. I can’t think of a popular musician that has a more pure artistic vision than Robert Fripp. He is completely uncompromising in his ethics. Curiously, he is the only member to survive all iterations, but insisted on musical democracy. I’ve always been unclear about their obsession with Larks’ Tongue in Aspic. I’m sure it was delicious to Kings of the past. Anyway, you should listen to more King Crimson. It’s soul feeding music.

This record is special if you’re a Canadian of a particular age and with particular music tastes if that makes sense. It stood out as a low fi recording in 1988. It reminds me of the Canadian short stories we read in high school that tended to be about rural living that we groaned about but secretly enjoyed. This album was a harbinger that the winds of popular culture were about to shift. It’s the first version of Sweet Jane I ever heard, and for my money the only one I care to hear.

I bought this CD at the time. I also traded it in shortly thereafter. My opinion hasn’t changed. It’s a snoozer.

Fun, hilarious, kinda lame and kinda groovy.

This is a once in a while listen. Novel but also frustrating.

Public Enemy rules. Maybe the most innovative and badass hip hop group ever. The first 4 albums are all perfect. Their message is clear and important, but I contend PE is great strutting music. Listening to it will make you feel 10-20% cooler.

Depeche Mode as their meant to sound. Somewhat industrial danceable pop music. A Kraftwerk influence seems tangible.

I have a soft spot for new wave. This doesn’t necessarily move me as much as others, but it’s cool.

I wanted to call this music for bros, but I realized bro country is already a thing. It’s a compelling listen Gram Parsons is an annoying figure. There’s something about a man child writing and singing songs about women that have hurt him that bothers me. I’m not always consistent on these things, but he annoys me.

I’ve always liked this album, but the Stones are all about rocking. What I mean is they’re not really about songwriting, musicianship, interesting harmonies, challenging structures or any number of other elements. It either rocks or doesn’t. I thought this was my favourite, but it doesn’t rock all the way through. It doesn’t bother me that English guys are trying to play country, they play blues after all, but I don’t think it’s a genre they do very well. Keith Richards was trying to emulate Gram Parsons, who was himself a poser. The Stones are best when they sustain a slightly menacing rock vibe for the entire song. This album mostly does that, but not completely.

Album not available on my streamer. I only listened to a smattering of songs I found on YouTube. Not able to assess the album experience but the music seems fun.

This must have been a challenging gig for Bob Ezrin. Firstly, these songs sound like they were written by a junior high band. When Stanley sings first I drink, then I smoke, he comes across as a 14 year old who’s done neither. Then there’s the musicianship. They hit the notes but it sounds off, like it’s their first year playing. The lick in the middle of Detroit Rock City is great, but it sounds like Ace just learned it and can only just play it. If this album were marketed alongside Saturday morning cartoons it would make sense. The fact that it still endures is puzzling.

I listened to it. Kind of enjoyed it, but also forgot it.

Really good rock album with lots of catchy hooks. It features fellow countryman Melissa auf der Maur, who has possibly the best name in rock, but also a cool person. I think purists might not like its studio tan, but I don’t care. It works.

Zzzzzzzzzz 😴

An interesting listen. It’s outside my normal music parameters, which makes it hard to judge, but I like it. The closest reference I have is that I once saw Toure play with Ry Cooder at a festival. It was a long time ago, but also fascinating.

Odelay belongs on this list for its innovation and place in the culture. On the other hand it’s never really connected with me emotionally. I’ve occasionally wondered who this music is for. It’s not a unicorn, but nor is it a vital part of any scene. The best I can offer is it is a reflection of the times.

Better than I imagined. Sometimes the best review I can give an album previously unknown to me is that I won’t delete it yet. I’ll give it another listen.

This record is terrible. It sounds so dry and soulless. Madonna was an interesting figure earlier in her career, but there came a point where she wasn’t about anything except what was trending at the time. These songs do not add anything. They exist, but it does not mean they are.

I like Megadeth, but I don’t love them. This album rocks though. I think my favourite aspect is the prominence of the bass guitar. That being said, is it just me or is the sound a little thin? It has the sound of a thrash band playing through an am radio. Not a deal breaker. Just curious.

I had prepared to rip this apart. I didn’t hate this as much as I expected. However, I dislike Steely Dan’s whole deal. The narrative voice is one of an asshole. Always singing with praise or malice for a brother, and criticizing a woman. Music for bros. Also, that album cover is atrocious. Not a deal breaker normally, but one more reason these guys annoy me.

I have the same reaction to T. Rex every time. At first it’s the best thing ever. Then it gets less and less interesting. By the 5 th song I’m sick of it.

This wasn’t quite as fun as Cosmo’s Factory. Probably CCR fatigue. Who hasn’t heard Proud Mary hundreds of times. I do appreciate them for being a palette cleanser. A reasonable choice every time. Everyone likes them, but no one claims them as favourites.

What a dumb set of songs. The songs and performances are so immature that they can’t be taken seriously.

I guess I like French electronic music more than English. But only just.

Like eating a Twinkie that’s been sitting in the pantry for 30 years. Still tastes the same. Not even that stale. But who wants to eat that? It’s Bad.

It’s fine. Doesn’t really differentiate itself from other rock bands of the era. I do like the production, but the songs are ultimately forgettable.

Pop songs with hooks for days. The singles are so big that it’s hard to listen to them with objectivity. One Way or Another was used for commercials for a local windshield company. Unfortunately the song is more likely to remind me of rock chips than New York punk. Although I like this record, something about it feels light. Sort of bubblegum with a slight edge. That being said, good albums are hard to come by so it’s better than most.

I wasn’t sure if this band was from San Francisco but I could tell. Very reminiscent of the first Grateful Dead album. It is well executed but ultimately forgettable.

My hot take: I like Maxwell’s Silver Hammer. What else could I possibly add that hasn’t already been discussed in great detail. Great album.

There is something so fascinating about Kraftwerk. As a band, they’re pretty inscrutable. Who are those guys? The music production is clearly ahead of its time. The songs themselves are at once innovative and simple. Es lebe Kraftwerk.

I have looked the other way before in separating the artist from the art. I don’t feel I can do this here. I couldn’t bring myself to listen to this.

Cypress Hill to me is mostly about the charm and charisma of the guys. It’s good. I did get bored midway through.

What was it about rockers from this time period that makes them so interested in messiah figures. This share a lot of dna with Tommy. The narrative aspects of this album are kinda dumb aren’t they? There are a lot of hooky songs with great guitar riffs though. The title track features a monster riff. Good album. Not one I reach for very often.

I really admire the musicians in this band. Copeland and Summers are of course superior players. As it happens Sting’s bass playing fits perfect between these two. I also enjoy the relatively low gain approach. Summers stands out from the other guitar players from this era as a result. Message in a bottle and Walking on the moon are two favourite tracks. The rest of the album is good, but nothing else stands out.

It’s at turns compelling then boring.

I had higher hopes. Somewhat interesting at times but not enough to keep me engaged for the whole time.

Where I come from, everyone has a right to free and equal access to classic rock. It’s like a utility. Turn on the radio and it’s there. For free. We don’t even pay taxes like you do in Europe. Tom Petty and the Heartbreakers are like tap water. Not very exciting, but not offensive. I actually like a lot of his songs. Like CCR, Petty and his band play songs that just exist.

I’m running out of things to say about these albums. This one has potential but not something I want to listen to for very long.

I like Roxy, but they seemed to have jumped the shark by the 4th album. The theme of the album cover was just too far. The music is still good but not as good as before. This one is mid.

There’s something about this album that reminds me of a bar band. I could imagine having a great night drinking and singing their songs and buying their cd to support. The next day you put the cd on and it’s just not as fun as the live experience.

My interest in ratm is largely the guitar playing of Tom Morello. I’m sympathetic to the lyrical content but the delivery is repetitive. They do manage to create some great grooves but this album hasn’t aged as well as I hoped.

I don’t have a frame of reference to assess quality but I enjoyed listening to this. I wish I heard more music from outside the UK/US.

I’m fairly sure I’ve never heard this before. I don’t really know its history but it sounds like it would fit right alongside the other classic rock artists. It sounds a little southern fried, like Little Feat. Not my favourite thing but I appreciate the talent. This will land right in the middle for me. 2.5 rounds up to 3.

Here’s my hot take: this album would be better without Van Morrison. I guess he can sing but he grates on my nerves.

Considering this is the Stones, it’s surprising how naive they sound. It’s hilarious to listen to these young guys sing about Route 66, having never been there. They clearly have charm. A sign of things to come. An interesting historical document.

I listened to Baaba Maal 4 albums ago. I liked that one and this one too.

This isn’t a bad album, but what differentiates it from 1000s of other similar sounding records? My review isn’t directed at Nanci Griffith, but the idea that it is in any way essential.

As it happens I love two Elvis Costello albums. This is one. It rocks really hard. The bass guitar and keyboards carry so much weight here. One aspect I dislike about all Costello music is how verbose he is. Less talk, more rock.

I like this a lot. It’s a pleasure to be happily surprised.

I have a soft spot for this era of pop music. The pioneer spirit is evident. Consider how different this is to the pop music that preceded it. Would you prefer Human League or Journey? Neither are top choices but it’s definitely the Human League.

Do I need to hear this before I die? Well I have. Many times. One thing about this album is that it’s really affected. So many riffs would have more impact if they had less treatment. The prime example being Ten Years Gone. What a riff. It would hit harder without the effects. Lyrically, this album is dumb, but so are all Zeppelin albums. Plant’s vocals sound strained as well, but there are so many interesting grooves and musical moments.

The main thing I know about Primal Scream is that they have a signature guitar. You them a lot in our Canadian guitar store chain. I was surprised then that it’s not really guitar music. That’s not a knock, just an observation. However, I can’t say I got anything out of this.

This album is an example of the dark side of business, and has nothing to do with art. I’m not against pop music, but I am against the pursuit of capital at any cost regardless of who or what it impacts. Spears was a teenager here and the way she is marketed turns the stomach. Her struggles are well documented as a result. Who knows how many other people this impacted in a bad way by way of a corporate role model.

Bone Machine is a beautiful album. I like everything about it.

I have an irrational love of the Red Hot Chili Peppers. In the late 80s I was in junior high school. For most boys, the nadir of their maturity. Back then the Peppers appealed to me because they were brash, goofy, and irreverent. I matured as I got older, I hope, but inside me remains a 14 boy. That’s the aspect of me that they still appeal to. It’s also why Californication (perfect middle school joke btw) is good but isn’t my favourite. It tries to be serious. I love a lot of the songs, dumb lyrics and all, but not all of them. I don’t want serious from the Peppers. Great album. Not perfect.

I’m a rocker by birth in the same way I’m a Canadian. It’s my musical nationality, but that doesn’t mean I’m always proud of it. Many rockers still like to reference the disco sucks movement of the late 70s. Shut up already. It was 45 years ago. Also, why are you so offended by disco. I think I have an idea, but I digress. Chic is amazing. The guitar of Nile Rodgers is cool, but that bass guitar is what really captures my attention. It’s no wonder so many people have sampled it.

Made for bbqs and sunsets by the pond.

This one comes with baggage. Southern rock means something specific, often connected to confederate flags etc. I like this album if I strip it of its cultural presence. I think it was made by young guys with no other aspirations other than to rock. And it does. I am going on record to say I love Free Bird. My only complaint is that it’s too short. This record isn’t perfect but it’s better than average.

Two highly innovative guys. It’s a pleasure to listen to whatever they come up with. This sounds great on headphones.

Stephen Stills reminds me of whole grain bread. Is that weird? I like whole grain bread as it turns out. That being said I can only eat it once a day. In music terms that means once a year.

I’m sure he is a master of his craft. As a westerner, I simply don’t care for the sound a sitar makes.

Simone is one of a kind. She’s so disarming in a way I can’t help but admire.

Judas Priest is a band that reaches for the obvious cliches and metaphors, and yet there is no band like them. Their enthusiasm for all things metal is contagious. When Halford screams you don’t know what it’s like, you want to believe, but as a Priest fan, I’m pretty sure I do. All hail the self described metal gods.

An all time great rock album. I find it so expressive. There is a great range of emotions throughout its four sides. A rare double album that I can listen to front to back without getting bored.

I actually reviewed London Calling yesterday. The debut album has more of the true punk rock spirit. Two days ago I might have even said I like it better, but in fairness it’s not as realized. That being said this is a great rock record. One thing I really enjoy on this one is the rock and roll guitars. Where London Calling takes me on an emotional journey of the human condition, the Clash has more Beavis and Butthead approved moments. It rocks hard.

Has some value but I really don’t care for this.

I like new wave music quite a bit. This one has some appeal but maybe not top tier new wave, whatever that is.

I love Iron Maiden so much. I’ve loved them since I was a child. My review of any of their classic era albums could never be without bias. This album is so influential. The album art for one started the whole metal aesthetic. They already have a blueprint here for what they’d become. It amazes me that one of their best epics, Phantom of the Opera, is on the first album. Anyway, Up the Irons! If you know you know.

This album is so good. It’s one of those you can put on anytime records.

The Replacements rock. A true embodiment of rock and roll.