After the release of Bee Thousand, Guided by Voices (GBV), helmed by Robert Pollard a 37-year-old elementary teacher from the Midwest, broke into the underground indie scene. Alien Lanes was their follow-up, that despite the $100,000 pre-production from Matador the band still managed to cling to its lo-fi roots. That decision to, sometimes oddly, stick to lo-fi will almost certainly alienate many listener. I haven't looked but suspect that the standard deviation on reviews for this record is pretty high. To me though the recordning decision contributes to the raw energy and unique sounscape that makes this album a fun experience. This was even more apparent to me through my critical listens for this project than it was when I first heard it many years ago, but maybe that is just how memory works? A garage album, literally in place and in sonically in spirit, the album was mostly recorded in Pollard’s garage and basement on a four track. There was plenty of tom foolery too, with songs recorded using cheap microphones spread throughout the room, or others with tremble cranked all the way up and bass all the way down. Editing decisions that Hyden at Pitchfork hilarious called “self-deprecating sonic fuckery”. Bands like this are fun to listen to because they are not afraid to experiement with new sounds. Sometimes this falls flat, like the annoying snoring on in the background in“Ex-Supermodel”. Yet, on Alen Lanes it works more often than not, taking tunes often inspired by classic rock to unique places. In terms of structure the album reminded me of a rock-inspired version of a similar punk-inspired thing that the Minutemen did on Double Nickels on the Dime. All of the songs are short, yet many are memorable and catchy. The songs grab you quick and then just as quickly let you go, making you feel like you are riding a sonic roller coaster. Like much great rock and roll it is the energy that manages to pull the snippets together into a cohesive record. I enjoyed this record, so much so that despite not having listened to GBV for several years I spent my afternoon going through their most recent discography. Given the sheet volume of records recorded in the time since Alien Lanes was recorded, there are enough of us who can appreciate music like this to keep a band like this going. It is easy to see why GBV would go on to become so iconic and influential in indie circles. As I've noted previously, the beauty of this project is that it keeps reminding me of bands that for no damn good reason I have moved on from. Fortunatey for me, in the case of GBV, I've got a lot more to explore.

Contrary to popular belief, bossa nova evolved inpendently from Jazz, emerging from samba in the mid- to late-fifties. Nevertheless, on this album we see these styles collide with Gilberto (guitar), the "father of bossa nova", working with Gets (sax) with cool jazz roots. The result is a work that will introduce the world to bossa nova and create several songs that will ultimately become jazz standards. This is a great album, I enjoyed the listen. Considering its ongoing and historical importance, this was an album well worthy of inclusion on the list.

First pick in the challenge. What a way to jump in. Noisy chaos, not necessarily in a bad way, but back when I listened to much more punk I had to be in the mood for noisy stuff. Sometimes smoking helped. Overall, a weird mashup of noisy punk (e.g., Thinking Fellers) and house. There were some interesting songs, but I wish they didn't bother with the vocals. I went in blind, but ultimately read that this was two people (bass and drum machine), which is impressive.

From the first bouncing organ riff at the start, you know that you are about to embark on a fun trip through the past. Bluesy, sometimes jazzy, always catchy with lyrics that are memorably poetic. There is a reason the last album with Jim Morrison will always be a classic. Did I mention Morrison? One of the truly great voices in rock and roll history. Most people can almost instantly recognize the raspy baritone, largely due to his ability to impart an emotional depth that sometimes seems at odds with the bouncing tunes of the band. His early death at 27-- along with Hendriz and Joplin at about the same time--remains among the most tragic in music history. As I was listening to this album I realized that I had not listened to it from start to finish in over twenty years. No idea why except sometimes we forget about the past in pursuit of new expereinces. This is why nostalgia can be so powerful and one of the reasons I embarked on the 1001 challenge. What a fun album to get as #2!

What new can be said, a seminal album from a band synonymous with rock and roll.

There were several great tunes on the album, but nothing that I found ground breaking or exciting. A good, but not great listen.

The first album from one of of the most influential musicians in rock. Not my favorite Hendrix, but seminal Hendrix. I'm grateful to 1001 for prompting me to listen to this album in its entirety, I haven't done that in a long time.

I don't know if it is because I'm old or white--probably both, but I've always had a hard time getting into hip hop. Despite this, I found myself grooving at various points throughout the album. I'm bumping up the ranks a little higher than I normally would in case I end up making an intentional effort to get beyond my old man biases. If I'm going to really dive into hip hop, this would be among the better places to start.

I mean this is Iggy fucking Pop and he is collaborating with David Bowie. How could it be bad? . Much more poppy that his work with the Stooges, but there are still songs with that raw energy. Other songs, perhaps do to the more poppy focus have some seriously fun books. I listened to this album on the way to an amusement park with my family, a great way to start a great day.

Ahhh, freak out! My first disco album selection and Chic (pron. Sheek) was a great way to start as they produced some of the biggest hits of the era, including Le Freak from this record. The band liked to consider themselves a mash up rock and disco, which is evident with the excellent guitar work in songs like Savor Faire and Happy Man, albeit with a copacetic R&B vibe. I was 8 when this album was released and can distinctly remember the hits "Le Freak" and "I Want Your Love" being played everywhere. These far out hits reminded me that I don't give disco enough credit as the dance centric music that led to many of the tunes I danced my ass off to in the 80's So take a load off, chill out, sit back and enjoy this groovy record. Good vibes. Peace out!

Country, especially modern country pop is shit music devoid of anything but, perhaps, an artistic expression of the obsession with fame and greed that is US culture. So when I saw the genre and date, I was concerned. Fortunately, this is not that. The album was a mix of various old time country sounds with a modern, decidedly non-Nashville, twist. I liked it more than I thought I would, but it still isn't my jam.

Holy shit, this is why I signed on to this project. I've always liked the Stones, but I've never been enough of a fan to listen to albums in their entirety. WTF have I been thinking? Incredible music, of course. My whole family was commenting on the fact that we got a good one.

Like it was for many, this was served to me the day after Wilson's death, so it resonated more than it might have otherwise. While this album was significant made a significant contribution to music, it is not my favorite Beach Boys album who is a band on infrequent listening rotation. So lots of respect from me, if not love.

Sometimes I'm reminded that my biases against pop music keep me away from really great music. Winehouse had such a fantastic voice and the lyrics in this album, conveyed in her soulful voice, were beautiful and haunting given what transpired afterwards. Also, this damn algorithm keeps giving me artists who does tragically young, which sucks for a dude entering into the last phase of life.

Anyone reading this, please check out this article, it is beautifully written and provides a history of Evans and his contributions to music: https://www.thebeliever.net/broken-time/ So anyway, the concept of broken time led to some really amazing rhythms on this record. The fact that it was a live recording during his height as a musician is also pretty special. I kept imagining myself in a suit, smoking ciggies, immersed in the sounds. I've always been aware of and appreciated his work with Coltrane and Davis, but I'll be exploring more music by this amazing piano player. Also, I've been at this for two weeks now and 2/3 of the albums have been from artists who died tragically young. I know it is random, but WTF?

The genre is my thing. The album was great, but nothing really jumped out as something particularly profound. I'll give it a couple more listens to make sure it wasn't a matter of my mood. Good stuff, but maybe not great?

I was in the fence about 3 vs 4, but why not give the benefit of doubt? Brit pop is not my jam, but I was surprised by several tracks on this album and it certainly was influential.

Beautiful record! Amazing! I'd heard songs by Elliot Smith before mostly because the algorithms seem to think I'd like it, which was true. This is one of those artists who I always intended to explore further, but never did. Listen blind notes: the music production was textured and precise (in a good way). The instrumentation was well executed, especially the guitar and Smith has an amazing voice. Excellent album for chilling at home on a quiet night or while crunching numbers. Revisit this one with headphones. Post-listen notes: Holy shit, apparently Smith played all of the instruments and much of this album was Smith recording different tracks in his home and these combined later by producer collaborators. Even more impressive. Another artist who died tragically young, which is becoming such a strong trend here that is it getting creepy. I don't know why I haven't explored Smith earlier. I'd obviously heard him referenced by others, on various "Top *00" lists. I liked what I'd heard. Thanks to this project I finally did and I will definitely be exploring more further. Unfortunately, Smith died too young so his discography is somewhat limited, but I intend to consume all of it. While consensus on any top list is impossible, discoveries like this are what makes exploring this list a rewarding project.

Live the album Title, but this record was not for me. While pop music is not my favorite genre, I do enjoy it, but the poppy elements didn't work for me here. Several of the songs had some catchy hooks, but then they were repeated long enough that I got tired of them. The lyrics were similarly uninspiring. There was also a dissonant element to the tunes, which seemed to conflict with rest of the music in a way that didn't work for me and I live dissonant music. Maybe I'm just not into post-rock?

This was a fun listen, approaching cultural appropriation.

Reggae has never really been my jam. A little too repetitive in the rhythm section. However, Bob Marley is a legend and still gets some play time when I'm in the mood, it just happens rarely. Music that is very mood-specific is hard to review.

I liked it more than I thought I would. The history of this album is fascinating, look it up.

Interesting, chill. It was great when it had its moments, but it seemed repetitive, especially considering how long the album was. I'd bit been exposed to drums and bass much previously, so I'm grateful for the exposure.

Perhaps it is telling about the imporatance of the band, but almost all of these sangs have been so over played in the backgound of my life that it was really hard for me to enjoy them. It wasn't that I had overly negative opinions of the band, I simply had no desire to seek out their music. After a concerted effort to put previous opinions aside and askin my son for a fresh perspective, it was clearer why this band was so popular. Plenty of solid hooks, backed by a mixture of blues, rock, county, even a little motown. One single after another. Perhaps, in part, due to its popularity the album epitomizes classic rock and in amny ways the music of the 70s. Normally, I will not give an album 3 stars if I have no intent of ever listening again, but that seems too harch in this case. Besides, even today, the idea that I will not be hearing most of these songs again, whether intentional or not, seems absurd.

I remember when this album was released, a year or two after grunge reached a more mainstream audience. At the time, it seemed like everyone was trying to ride the wave and when I first listened to this album it seemed like more of the same. After this I never gave Queens a fair shake, so I went into this listen wondering if give me a new perspective. There is no disputing that the album has big sound, with some interesting guitar riffs. I loved songs that successfully interated more complex pics and jabs with the driving power chords that define the record. This was a highlight for me. I also enjoyed the power of more bass-forward tunes on songs like Mexicola. All of the songs are repetitve, carrying chords and other elements from start to finish. Sometimes this works, but the places where it doesn't allow me to forgive my younger, dismissive self. I'm still unsure why this album is considered seminal. Perhaps due to the later commercial success of the band? I was torn on my overall rating. I decided that 3* albums were those that I was glad I listened to, even if only because it gave me a deeper perspective to modern music, whereas 4* albums are those that I do intend to listen to again. I don't thinnk that the latter was the case for this particular album, but it was interesting enought that I do intend to listen to later Queens albums to see where they ultimately take their music. In the end, I decided that this was more a credit to this project than this record specifically.

I don't like pop, but I loved this pop. I can get behind any artist who is not afraid to try something new, especially when it comes together like this. Beautiful and interesting music.

Half way though the opening track Perfect Skin and my mind brought me back to the halls of my high school, then to the many trips to the all ages dance club during Rattlesnake. Memories so vivid, I could smell the clove cigarettes. While my music tastes have evolved over time, I do occasionally revist music from my teens, but always albums I'd put on and not tunes other people would play for me. In many ways, the dance songs on this album epitomize the time in which it was produced, but for me hearing them was a surprise, like random tunes on the mixed tape made by your crush they were not something that I would have thought to play for myself. Fun stuff. Having known this band almost exclusively from their hits, it was fun to discover a greater breadth of musical styles and influences than I expected. From the distictive rock and roll riffs in songs like Four Flights Up, to the R&B influences in songs like Forest Fire, to the orchestrations in songs like Patience, the beadth of the music convinced me that this band was much more than a simple reflection of the time the album was produced. Another great album I never would have listened to without this project, but probably not one I'm likely to revisit much in the future. This is not because the music was not enjoyable, it was. I just tend to revisit bands that were more important to my past self when I'm in the mood for nostalgia. Who knows though, maybe I'll surprise myself like this album surprised me.

Another Beach Boy album. I can see their place in history, but nothing very exciting or interesting time personally.

No review today. Good album, but nothing special especially when listened after brilliant Modest Mouse set. He didn't stand a chance.

I've been getting a lot of late 60s and early 70s music lately. Many of the albums share a mixture of several different genres like blues, folk and country with rock. About half of the time the mixture of ingredients is never realized into a new dish, which makes a lot of it sound the same. However, when it works I can see why the artists were popular. More interestingly for me, on the better tunes I can see the evolution if sounds that I enjoy today. This album had a few songs like this, but as a whole it was nothing memorable.

After listening to many rock albums from this period of time through this project, it striking how innovative this album was. I can't imagine how exciting it would have been to hear it on its release. It also holds up even today and probably always will. Incredible music and just the beginning of a string of albums that would create the legends they would ultimately become. The opening song, Sympathy for the Devil, is emblamatic of why this album is among the greats. Catchy hooks intermixed with episodes of singing guitar riffs that scream rock and roll, all accompanied with the bouncing piano and lyrics that comes together into a fun song that will always bring a smile to my face. At the time of this review, there were ~660 million listens on Spotify, so I'm clearly not alone here. The pace changes dramatically, with No Expectations and Dear Doctor, which lean into a blues influence, while still seaming much more fresh than other artists of the area experimenting with similar sounds, Like Rod Stewart who I got yesterday. The Stones deliver something that seems unique and exciting, making this all their own. With Parachute Woman the album veers toward rock and roll again, a great albeit short song. Street Fighting Man follows a couple of songs later giving us another classic Stones tune that had me think, "Man, I love this album!" Then into the bluesy, folksy Prodical Son. Stray Cat Blues rounds up the album with another banger. Not all of these songs are great, some are. but they are all good and they come together to make a cohesive album that is among the best in this period of music history. The 50th Anniversary Edition of this album has exceptional production quality and giving another listen with better equipment revealed more nuance than I picked up on my first listen. I don't frequently listen to the Stones, but I do occasionally get the itch. These days that mostly means listening to the artist as opposed to specifc albums. I think I need to change that.

An electronica album with chill two step and bass and drum beats, a genre of music that is not my jam. When I’m in the mood to listen to electronica, I gravitate to more powerful and energetic beats typical of house. This explains why I couldn’t remember ever hearing of Everything but the Girl, despite the band having chart topping hits in the US. This album had beautiful moments and the singer’s voice complimented the underlying music, but for me that did not save the album from being boring. I’m not convinced that this album would be on the list if the author was not British. There is nothing intrinsically wrong with this, but I didn’t hear anything particularly groundbreaking or influential in the album. Although, as mentioned, I’m far from an expert in this genre. Definitely not an album I’ll be revisiting in the future.

It's probably been 20 years since I listened to this album and I hosestly can't say why. Sometimes we just move on and forget, I guess. As someone who is always seeking out new music, this project is making me realize that sometime the old can be new, when listened from a different time and space. As I listened, I had distinct memory of when I first heard this album after it was released and being completely blown away. It still had enough of the electronica to be distinctively Depeche Mode, but more dissonent and complex, in a good way. This was especially after smoking up, which was my state when listening to any new music at the time. Listening to it today, I'm stuck by how well the album holds up. It really is an amazing piece of work that is solid from start to finish that perfectly bridges the sounds of the 80s and 90s. Don't get me started on the production value, such depth, especially for the time it was released. It is an album that screams for a great set of headphones or HiFi system. This makes it a great album to get for new subwoofer day, which is due to be delivered any minute. I'll give it another listen once I get everything dialed in and calibrated. When the album popped up, I thought to myself that it would be fun nostalgia. I wasn't expecting a 5* that will now be in regulare rotation, especially for the much more rare occasions when I just want to smoke up and travel into a sonically dissonant landscape.

I'm not sure what I listened to, twice. Absolutely ambitious, sometimes interesting ,sometimes beautiful. A little too poppy for me overall, but respect.

I know, it is the Beatles and there is probably a reason this album is in the list, but this is far from the most interesting if their albums.

Another exposure album. This one is good and it turns out historically important. What a legacy!

Recorded in 1969. think about that, that was over 50 years ago. It blows me away how innovative this album was for the time, so much so that it would probably be described similarly if it was released today. King Crimson took influence from the early psychedelic rock of Pink Floyd and The Beatles, mixed it together with free jazz and modern classical to create an album that would become among the most influential in rock and roll history. While Court is seminal prog rock, one can hear elements of so many modern genres like heavy metal, industrial and psychedelic rock. It is easy to see why so many musicians cite it as an influence and among their favorites. Including Hendrix who supposedly declared them to be the best band ever before this debut album was even produced. Crimson has stated that they wanted to album to be frightening, while I wouldn't describe it this was, it is deeply emotional which is something that would have been easy to lose track of through the improvisation and innovative musical elements. Part of what make this music emotionally impactful are the understated vocals (and poetic lyrics), but also the underlying structure taken from jazz and classical. Yet, other elements like the discordant woodwinds and experimental guitar riffs carry the emotional impact forward because they take you on a journey to new and unexpected places. I'd be remiss if I failed to mention the fantastic sampling, with one of the earliest uses of what would become resampling. Also, it has among the best album covers ever that conveys visually what you are about experience sonically. A masterpiece in just about every way possible!

If you were a brilliant artist, who helped define music for generations, who knew death was coming, what would your final album sound like? This album was released within days of Bowie's death and the content makes it clear that he saw it coming. Also, perhaps sadly, his only album to reach the top 10 in the US. Great music is about emotion and I can't imagine that there are deeper emotions than looking death in the eye. I can't think of any albums where the artist looks at death, and life, so directly and unflinchingly. Black Star is essentially an experimental jazz album punctuated with distinctive Bowie melodies that have made his music distinctive throughout his many reinventions. As one can imagine, the album can be dark, even eerie, at times but there is also joy and humor. Like life, complexity is born through such contrasts and it all comes together brilliantly here. Listen closely to the contrasting lyrics in "Lazarus", “Dollar Days”, and "I Can't Give Everything Away" for different takes on life and death. Maybe it is just because I’m old, but I find it hard to believe that most people would not be someone introspective after a deeper listen. Contrast this with lyrics on other songs like "'Tis a Pity She was a Whore" that are just damn funny. I usually listen to albums on this list once before reading about the history. I made an exception in this case and I'm glad I did. I think this is a good album without the context of when it was written, but with that context it is a great album. Bowie, a man who made art that will continue to live for many years following his death, composed a wonderful epitaph for himself. At 69 years old, Bowies demonstrates again that he is not afraid to try new things and that he has the chops to pull it off.

Let it Be is an album that captures the zeitgeist of its time perfectly. On its release this was an indie album that went mainstream in ways that nobody expected, especially, I think The Replacements. Although, they were obviously taking themselves more seriously than previous records some of the raw energy from their previous work remains, showing the listening that tighter does not mean overly produced. Overall, as a work that was important at the time and influential to what followed. It certainly deserves a place on this list. There were certainly more interesting records released at the same time, but that captured the attention of the public like “Let it Be” did. Another fun listen on this list from an important work. Underneath the theme of the angst of growing up in a world rapidly turning a little shittier, is a band who is clearly having fun themselves, which is almost always infectious to the listener. Surrounded by rock and roll releases increasingly influenced by pop and electronica, the Replacements reminded everyone that sometime unbridled energy is enough. It still holds up today as a good, if not great, piece of music.

Holy shit, one of the most amazing voices in all music..It is hard to know what her death at 27 denied us, but she will live forever through her music. I've always loved hearing her belt out tune. This was true when I first heard and appreciated her as a teen and it is still true 35 years later. There isn't anything that I can say that hasn't already been said, except thank you. If you cannot feel moved by this voice, you no soul. This is a hill I'm willing to die on.

IDK, it is the Doors, and iconic band.Yet there has been plenty of better blues rock before and since. It is certainly not a bad album, there are many gray tubes. To me it lacks the emotional depth and originality of earlier albums. Listening to the album fresh, I liked all of the tunes, but I was there wasn't anything that made me think, "Fuck yes, this is amazing!" It did remind me that I hadn't listened to R.L. Burnside in too long. I guess my point is that whole I respect the Doors, I was just bored through much of this. Not bad, just not great.

I like to think that someday I'll appreciate Zappa. So many people with great taste in music have tried to convince me that I'm an idiot, but I don't get it. Never have, but I'll keep trying. There were a couple of good songs on this album, Trouble Every Day, foe instance. The second half was far more interesting too me than the more poppy first half. I know that it is on several top list and I should give it another listen, but it is so damn long. Maybe someday.

IDK, I gave this album three listens. There were moments to be sure, but there are others who do everything SOM is trying to do here better.

So despite this album topping charts everywhere, I missed it. I never explored electronic music much until my bow college-aged son convinced me that I was missing out. When exploring music that is less familiar, I require several listens and I can conclusively say that this is banger. At least for me. I was going to plenty of great grunge and indie rock shows at the time, but this album is me wish I'd explored the race scene more. Unfortunately, the next this old man can do is be grateful that I added a subwoofer to the audiophile setup. I still dig Justice (who I saw with my son several months ago) and LCD Soundsystem more, but it is really fun to see the roots of that with this album. Oh and I sent a link to my son and it has his approval, so I'll probably hear more while hanging with him, so it gets a covered extra star. I'm sure the band will be excited to hear this.

I've been a fan of New Order for over 30 years and saw them live again several months ago. They are not a regular listen these days, but this is more a factor of me exploring new things than liking the band less. This album was released in the late 80s, which was a time when music tastes were changing pretty rapidly and you can see the band adapting to this. Yes, there are some of the dance tunes that helped establish the band, but the bulk of the album is a a stretch that works. The combination of their electronic mastery with more traditional instruments, especially bass and drums, creates an album that still stands up to much of the indie pop produced today. I enjoyed listening to this album several times when it entered my que. Another example of why listening to albums in their entirety creates a different vibe that the lazy playlists we all depend on. A cohesive album where the whole is more outstanding than the sum of its parts. As an album, this might be their best? However, I think that their earlier works we're probably more important with respect to the influence this band had in the music that followed. A.fun listen and as the first album by this iconic band to make the UK #1 spot, certainly an appropriate addition to the list.

After the release of Bee Thousand, Guided by Voices (GBV), helmed by Robert Pollard a 37-year-old elementary teacher from the Midwest, broke into the underground indie scene. Alien Lanes was their follow-up, that despite the $100,000 pre-production from Matador the band still managed to cling to its lo-fi roots. That decision to, sometimes oddly, stick to lo-fi will almost certainly alienate many listener. I haven't looked but suspect that the standard deviation on reviews for this record is pretty high. To me though the recordning decision contributes to the raw energy and unique sounscape that makes this album a fun experience. This was even more apparent to me through my critical listens for this project than it was when I first heard it many years ago, but maybe that is just how memory works? A garage album, literally in place and in sonically in spirit, the album was mostly recorded in Pollard’s garage and basement on a four track. There was plenty of tom foolery too, with songs recorded using cheap microphones spread throughout the room, or others with tremble cranked all the way up and bass all the way down. Editing decisions that Hyden at Pitchfork hilarious called “self-deprecating sonic fuckery”. Bands like this are fun to listen to because they are not afraid to experiement with new sounds. Sometimes this falls flat, like the annoying snoring on in the background in“Ex-Supermodel”. Yet, on Alen Lanes it works more often than not, taking tunes often inspired by classic rock to unique places. In terms of structure the album reminded me of a rock-inspired version of a similar punk-inspired thing that the Minutemen did on Double Nickels on the Dime. All of the songs are short, yet many are memorable and catchy. The songs grab you quick and then just as quickly let you go, making you feel like you are riding a sonic roller coaster. Like much great rock and roll it is the energy that manages to pull the snippets together into a cohesive record. I enjoyed this record, so much so that despite not having listened to GBV for several years I spent my afternoon going through their most recent discography. Given the sheet volume of records recorded in the time since Alien Lanes was recorded, there are enough of us who can appreciate music like this to keep a band like this going. It is easy to see why GBV would go on to become so iconic and influential in indie circles. As I've noted previously, the beauty of this project is that it keeps reminding me of bands that for no damn good reason I have moved on from. Fortunatey for me, in the case of GBV, I've got a lot more to explore.

For many, including me obviously, a comparison with the Smiths is unavoidable, so let's get that out of the way. I was a major Smith's fan back in the day, my daughter independently discovered them in her teens, and I revisit their discography periodically. This is not Smith's album, but "You are the Quarry" is all Morrissey, sometimes this is enough, sometimes not so much. Morrissey's--the crooner of angst, self-doubt and grief--lyrically delivers. Surprising nobody, his singing is beautiful and absorbing. I wouldn't go so far to say that he is at his best here, but his singing delivers more emotional intensity that we have seen in his solo work for a while. Lyrically, many songs on this record provide the listener with the angsty poems that are a consistent part of Morrissey's work, not to mention the soundscape of my youth. Sometimes the lyrics deliver emotionally, sometimes not, but they are almost always well-written, even profound at moments. Some complain that Morrissey can be self-indulgent, which can be true at times, but I’m okay with it. In fact, I’ve come to expect it. It is part of the standard Morrissey package. Musically, there is a formula to much of Morrissey's solo work that makes much of his work sound similar, with beats that were everywhere in the late 80s and 90s. We get more of that formula here, overall nothing particularly groundbreaking with the instrumentation. To be fair, Morrissey tries to break this mold on particularly the center tracks of the album, exploring with different music styles, while still holding seeming familiar, but honestly this is where it just didn't work for me. These tracks were not all bad, but some the instrumentation on others was downright shitty. What made the Smith's great was that Morrisey's poetic lyrics were backed by a really solid rock band. Part of it may be the extremely produced nature of this record, but the band on this album just doesn't deliver the intensity or musical interest of the past. Perhaps the comparison is not fair, but the uninteresting music backing Morrissey's singing is what keeps this from being a great record. The more traditional instrumentation on other tracks did generate several bangers that ultimately makes “You are the Quarry” a good, if not great, record. This includes singles like "Irish Blood, My Heart" and my favorite song on the record, “First of the Gang to Die.” Morrissey remains a legend who has influenced many great artists who came afterward. Even if this is not his best work, the album certainly belongs on the list because it helps highlight the length and breadth of an incredible artist.

There were points where I was digging the grooves. I particularly liked the tracks where elements of funk/jazz were incorporated. However, I was mostly not inspired by anything here. I really, really want to finally "get" hip hop. I might not ever love the genre, but it is obviously important, so I should at least understand it. Insights with respect to this objective while listening: I'm realizing that I can't get to the point where I can appreciate the whole with zero appreciation for the sun of the parts. What I mean by this I listen to music from the perspective of the creation of musicians and not the ultimate product. It isn't just hip hop, I have a similar bitch with pop and most modern country. This is my problem and I need to get beyond it. All of the music I love: punk, numerous sub genres of rock, blues, jazz, indie, etc. comes from a place of appreciating the musicians as opposed to the composers. I think this is my barrier and I'll keep working on it. A work in progress. Still not my thing.

This is a tough one for me to fairly review because mellow 70s is something that requires a certain mood to enjoy, which I decidedly was not when the album dropped. I appreciated the singing, undeniably beautiful on some tracks. The orchestral instrumentation was not bad, it just wasn't very memorable or unique. I much prefer the disco Bee Gees that followed, at least that music is fun. Again, this take was probably exacerbated by my mood. However, there are many more interesting albums that I will put on before revisiting Trafalgar. Considering I was born before this album was released, it is odd that I've never listened to a pre-disco Bee Gees album in its entirety. So, there is that.

I listened to the album and thought it sounded interesting, but this review is mostly to prompt a deeper exploration later. An album like this requires conentrated listening and probably copious amounts of ganja. I just don't have the time to give it the attention it needs currently.

Innervisions is on just about every “best of all time” list for several reasons. Of course, the music is amazing, more on my thought on that in a minute, but the more interesting story is the tech used to create it and its importance to Stevie Wonder’s career. Central to the unique sound at the time was the most advanced synthesizer ever created, the T.O.N.T.O (The Original New Timbal Orchestra). This room-sized device combined numerous synthesizers into an array that could be controlled and modified in an almost infinite number of ways. The result was the creation of unique sounds and methods of modifying them that continue to be incorporated all modern synthesizers today. Innervisions was the first album to fully utilize the creation, making the record an important contribution to modern music history (listed as either TIDAL or moog bass on liner credits). If you are reading this, do yourself a favor and watch this video Malcom Cecil (one of the inventors) discuss the device: https://youtu.be/flaystdObkQ?si=ZtBstnlAC4ncBxfE This technology was important to Stevie Wonder because it allowed him to fully realize the music he was trying to create. In an important coincidence, he first heard about the device at the time his Motown contract was expiring, which granted him the freedom to pursue his interests as opposed to those of the studio. A serendipity that ultimately resulted in critics separating Wonder’s music into the one consisting of the 15 albums produced before Innervisions and another encompassing everything afterward. Wonder is credited with creating virtually every aspect of this record. In addition to writing and composition, he literally plays every instrument on seven of the nine tracks. Wonder explores many different sounds on this album, yet they stitch together seamlessly into a cohesive masterpiece of progressive soul. Yet, that categorization is not really fair because like many truly great records we hear influences from many genres in Innervisions including: jazz, funk, blues, latin and reggae. Almost everyone will immediately recognize the singles on the record. In fact, most of us have probably danced to the grooves of “Higher Ground” at least one. The widely familiar funky-blues vibes in “Living for the City” take in a different, but equally fun direction. The third released as a single a couple of years later, “Don’t Worry ‘Bout a Thing” moves in the direction of Latin jazz. The differences among these tracks serve as a great example of the creativity explorations of Wonder on this record and those that followed. There are tracks like “All in Love is Fair” or “Golden Lady” are more reminiscent of Wonder’s previous work, love songs with decidedly more laid-back grooves. Other more serious songs explore sociopolitical issues within the black community following recent Civil Rights victories. Yet, even within songs about drug abuse (Too High) or urban decay (Living for the City) we still hear a faith in human spirit demonstrating Wonder’s insight into humanity. Innervisions was a joy to listen to again, especially in the context of this project because I got to learn and think about the surrounding historical context. It is a beautiful musical creation, truly one of the best records ever, well deserving as an album everyone should hear before they die.

Contrary to popular belief, bossa nova evolved inpendently from Jazz, emerging from samba in the mid- to late-fifties. Nevertheless, on this album we see these styles collide with Gilberto (guitar), the "father of bossa nova", working with Gets (sax) with cool jazz roots. The result is a work that will introduce the world to bossa nova and create several songs that will ultimately become jazz standards. This is a great album, I enjoyed the listen. Considering its ongoing and historical importance, this was an album well worthy of inclusion on the list.

"Black Sabbath with Ozzy, dude!" Such was the refrain from my--a punk and alt-new wave dude--from my fellow rockin' stoners when asked what I should check out. They are not wrong. I started listening to Black Sabbath shortly afterwards and it was my gateway into trying to understand and appreciate all genres of music, which ultimately led me here. I'm writing this, while listening to this album on the day of Ozzy's death. There has been enough ink spilled about the importance of Black Sabbath and Ozzy over the last few days. Amazing music.

Peaches and Jesus. Good God, how is this person considered to be among the best song writers? "God bless this chicken", nope God bless me for actually making it through this POS. The longer I listened, the more I wanted to make it stop. I get why he is here, many artists have cited him as an influence and great song writer, but a great song has to be accompanied by at least somewhat interesting instrumentation to be great music. This isn't that. The lyrics were often pretty cheesy. No joy here for me. I'm about 60 albums in and this is going to be my first bomb. I really didn't need to hear before I die. It did make me want to die though. A painful listen.

In many ways, the album that started the rise that ultimately would see the Stones as one of the most important rock acts in history (note: UK and US versions differ, this review is based on a listen of both). Their previous single “No Satisfaction” got the world’s attention, but this album defined their direction. The first album to be entirely written by the Stones moves a little further from blues (albeit still pretty damn bluesy on B side), toward a little more pop and, at times, a lot more rock and roll. This was especially true for several classic singles like "Paint it Black (US version)"--where Jones plays the scimitar after recently leaning the instrument from Harrison, "Mother's Little Helper" and "Under My Thumb" where we hear the Stones developing the style that will ultimately define the band's music. I was also interested to read that at least with respect to the US version, this was their first album to be released in entirely in stereo; sometimes, I forget that this was a thing. This is all to say that this album is an important one for the band and for its place in rock/music history. It has several great songs that would become part of the band's lexicon throughout their career. Unfortunately, especially toward the back end, there were also songs that seemed like filler and largely forgettable. Perhaps understandable given that it, in retrospect, is considered transitional. “Going Home”, while a decent song, is entirely too long. Others that didn’t really stand out as particularly great to me include: “Flight 505” (okay southern blues, just repetitive & relatively uninteresting), “Take it or Leave it” and “Think”. These weaker songs are not horrible, but they are weak enough that I would describe the album as inconsistent. I've always enjoyed the Stones, but have never been a major fan, mostly meaning that I’ve never systematically worked my way through their discography. As a result, I'm pretty sure that this was the first time I've listened to the album from start to finish (several times). Overall, I enjoyed the album, although maybe not as much as their later records. Still, once again, I find myself grateful that the project prompted my listen.

I tried, I even got high and tried again. A couple of really good songs and a lot of fair songs. I'm not going to dwell too long here because I've tried several other times and have determined that this album doesn't excite me and that is okay. Peace out!

This is my favorite Pink Floyd album and I love them all. There has been too much spilled into for me to contribute anything new, except if you are not aware please look at the history of the band and the context in which it was made. Worth it

This was amazing and his later albums are even better. How in the fuck did this fly under my radar? IDK, but fuck yes;

Holy shit! This is one of my son's favorite albums of all time. We were luck enough to see them live earlier this year. One of the most energetic shows I’ve ever seen, it was incredible. Cross was the debut album of the French EDM band Justice and quick rocketed the band to worldwide fame for good reason. The use of intense keyboards, combined with bass-heavy music incorporated elements of rock, metal and disco in a unique and fantastic way. The incorporation of familiar elements from other genres make this album a perfect gateway into electronic music for those not previously familiar. However, I think what really makes the album special in the emotional journey it takes the listener on. From the opening moments of "Genesis" listener knows, deep in gut knowledge, that they are about to be launched on a musical journey, then they drop you back down to Earth gently as the sounds of "One Minute to Midnight" fade away. The first time I heard the album in its entirety, I literally took a deep breath. When Justice composed Cross they sometimes spent weeks composing a song, dissecting each moment so that the sounds integrated seamlessly and projected to the listener their intended emotional impact. While the songs are each distinct from each other, they integrate together seamlessly, while also keeping you wondering where you are going next. There is no fluff here. I had no idea the album was on the list, but it certainly deserves to be here. Other than perhaps Daft Punk, I cannot think of a band that has had a larger influence on electronic music.

Holy shit, this shit sucks. Perhaps on the list because it represents a point on time where we almost lost the thread? Representative of a generation of "artists" who were charged by the music industry to remove the soul from music? I'm just glad that rock survived this music that belongs in my forgotten ashtray. WTF? I 100% did not need to hear this album before I died. Never again. This is even worse than I remembered when it was part of the soundscape of my youth. Kudos to me for actually making it through the torture to get to the end of this excrement. Kudos to you of you actually find this music interesting, but why?

WTF? I had never heard of the artist or album and always get excited when this is the case. This album was...interesting? Confusing? I honestly didn't vibe with the avant-cabaret (is this a thing?) on my first listen, but on my second listen it started to grow in me. You can definitely hear the influence on people who I love like Tom Waits and Nick Cave. Dagmar Krause, who I now know best know for her avant-rock work with bands like Slapp Happy and Henry Cow, was obsessed 1920's cabaret. This album was her rethinking such work composed by Hans Eisler. Krause has an undeniably beautiful voice. Eisler was among the great composers of his era, so the songs were well structured, albeit run through an experimental rock sieve. The result was something genuinely unique, especially for its era and I can absolutely appreciate it as a work of art. Sometimes art is great precisely because it is unique, even if it isn't entirely comfortable. For me, this album was a reminder that sometimes I need to give unique music time to breathe, approaching them later with a fresh and open mind. My initial notes were pretty damn harsh, yet during my second and third listens the next day I started to get it. This is a tough one for me to rate. I reserve 4* for albums that I definitely want to revisit and I'm not sure I will in this case, but it did already cause me to explore her avant-rock work, which I enjoyed a little more. For me, it is a 3.5* record. I guess I'll wait a couple of hours to see which way I go with my final rating. Overall, an interesting listening experience.

I'm not going to try to write a review of an Elvis album, I'm just not enough of a fan to be able to tell how this album fits into his discography and I don't care to be. All that said, I think I finally started to get Elvis on my several listens to this pick Am I going to add Elvis to my regular listens? Probably not. Can I appreciate the blend of numerous different genres, while also staying true to his style? Absolutely. I enjoyed the listen and prompts to learn a little more about the Elvis phenomenon.

I want to explore this with a separate jazz project.

Psychedelic Beatles is the best Beatles. If I was forced to list the most influential albums of modern music, this would be in the top 10. Culturally, the album speaks directly to the 60's counterculture. This is important to musically because part of the intent was unraveling convention, which exploded artistic creativity. Technically, the album was important because the band explored many newly-developed production and recording techniques, forever changing the recording industry. Okay, so what about the music itself? There are many fantastic tunes on this record and together they helped inspire the development of genres like psychedelic rock, prog rock, world music and even electronica. Considering I appreciate all of those genres, it is not surprising that that I love this record. A perfect example of it being better to burn out that fade away. Recommendation: Best experienced stoned.

Ahh, Bob Marley the man who introduced reggae to mainstream audiences worldwide. In college, as a pot smoking person who hung out with many hippies, the music of Bob Marley and others in his influence, was common ground. I spent many nights grateful that we were listening to Market and not another damn Grateful Dead bootleg. Listening to this album today obviously brought back many memories, but it got me wondering why I vibed with it when so much other chill music from the 70s didn't do it for me. I think it was the surface simplicity over the top of a deeper complexity? In any event, having much more diverse tastes than my younger self I think I can appreciate the music on a different level today. There are some fantastic songs here and the album is pretty solid. It has beautiful vocals with the Marley harmonies immediately familiar to people worldwide, with lyrics that are thought provoking. It is also interesting to think about the influence that bass-forward reggae has had in pop culture. All of this backed by his horn section that adds that danceable funk to the final product. Wailers fans might hate me, but I think this first album without them may have generated some of Bob Marley's beat music. It is certainly a classic. Not a personal all time favorite, but one I will probably revisit when the mood strikes. The list certainly needed to ensure reggae was represented and I cannot think of a choice that better captures the roots of this genre, but I'm probably wrong because the music is only an occasional pleasure for me. Another 3.5* for me, but I tend to round up when the album has deeper personal and cultural significance, this one has both.

Part of the reason I enjoy this project is that it sometimes introduces me to music I otherwise would have never discovered, the other is that it gets me thinking about the history and progression of modern music. This album definitely fits in the former. By 1970 when this album was released, many musicians, like David Crosby, Jimmy Page and George Harrison had commented on their love of Indian music, with artists incorporating raga-like elements into their music, albeit sometimes with modern instrumentation. For the most part, this album explores the reverse, letting modern rock and pop take the lead, but incorporating the sitar. Of coarse this was not the first use of the sitar in modern music. The dream-like sounds of the instrument lends itself to psychedelic rock so well that many artists had already incorporated the sitar into their recordings. However, I’m not aware of any psychedelic album at the time where the instrument takes to lead throughout. This experiment created a unique album that I thoroughly enjoyed listening to, so much so that I’ve also started exploring his later music, which I recommend if you enjoyed listening to this album. For the most part, I enjoyed the originals better than the covers, but I can see why the artist and producers felt the need to give the listeners something familiar to hold onto. That said, the covers are incorporated smoothly and like I said previously the entire album is pretty solid. I suffer from depression and have found relief through psychedelic therapy. My sessions often utilize music without lyrics and I’m definitely pulling some tracks like “Sagar (The Ocean)” into my playlist. I deeply regret not being able to see Shankar perform with Hendrix, which actually happened, can you imagine?

Many years ago, my friend Kenny gifted my punk ass a Muddy Waters box set, which started my love of blues. Shortly into my exploration of this music, I discovered and fell in love with the raw blues power of John Lee Hooker. At 72, when this album was released, the man still has it! John Lee Hooker is one of the most important and influential blues artists who direct inspired many important bands like the rolling stones. First releasing music in the 50s, Hooker was among the chief innovators of electric blues and really ramped up the intensity of blues generally. Like many black artists of his time, despite releasing dozens of records he struggled financially until he toured Europe and started to receive mainstream recognition. “The Healer” has a more modern, sometimes blues-rock, sound and is more musically complex than Hooker’s early days where it was literally just him on the guitar kicking wood for back beats, which means that is an excellent entry for people unfamiliar with his work. His collaborations with artists like Bonnie Raitt, Los Lobos and Santana also help with the album’s accessibility. All that said, anyone with any familiarity with Hooker’s earlier work will immediately recognize his work. I can’t see how anyone who appreciates the blues at all would not get a kick out of this album. I own the record, so I already enjoyed it previously, but it was a nice reminder to pull the CD from my collection. Given the importance of Hooker’s work and his influence on iconic bands like Hendrix, the Stones, The Door and many others, he certainly deserves to be represented by this project and this album was a great pick. It is cool albeit somewhat baffling that after 40 years this was the album that finally got him broad mainstream recognition, earning him his first Grammy after 40 years of producing and releasing music. Yet, through this late recognition revitalized his career later in life and let him go out at the top of his game. How cool is that?

In junior high, I frequently purged my adolescent frustration and angst by blasting the Sex Pistols from my boom box. At least initially, despite the legacy of Lydon, PiL did not scratch that particular itch. Later, in high school I finally “got it” and this album become among my favorites. A post-punk kid needing post-punk music. My God, this album brings back memories, some of them are actually good. It has too long since giving it a listen. Metal Box (AKA Second Edition) is a masterpiece. Yes, this music is somewhat challenging, but sometimes innovative work sounds weird. It is entirely possible for something to be both weird and amazing, I exist after all. Despite being released in 1979, the album continues to seem innovative today. It is worth noting that Lydon wanted this music to be uncomfortable, the intent was to get rid of the albatross of rock, by sowing seeds of discontent. The guitar and basslines are very experimental, but technically impressive. The varied time signatures the Wobble pounds out on the bass in sounds like “Poptones” feel unsettling, but also draw one into the layered complexity of the guitar and drums underneath. Speaking of guitar, the Levene is a master, mostly creating tones in the background that are wonderfully textured. Lydon’s vocals are equally impressive and innovative, sometimes haunting, sometimes bracing, but always emotionally evoking. An excellent of is the grief one hears, and feels as Lydon wails about his mother dying from cancer. The lyrics on many songs are actually pretty profound and integral to understanding the importance of this outstanding music. This is another album that absolutely deserves a place on this list. It remains unique even today, yet despite nothing being quite like it, its lasting influence is hard to deny. There are many great PiL albums, but this is probably their most important record and my personal favorite. God save the queen and God save Johnny Lydon! In the spirit of what initially brought me to this music: if you don't get it, fuck you, just scurry on back to your comfy corporate shell (while I pretend I don't have one).

War was released the year before I started high school and being an album that straddles genres, it appealed to most people with otherwise differing opinions on music. As a result, I listened to this album a lot in my formative music years, maybe too much? I think that most people would agree that War is not U2’s best album, it is their first really good album. Their decision to rock a little harder and faster, while also changing the rhythms to be a little more dance-like, veers the band into what we’d now call pop-punk or power-pop territory. These production decisions, executed by the growing talent of some remarkable musicians started the band down the path toward superstardom. So, the album was important for U2, with better more influential albums to follow. This is a selection I would love to discuss with the author, but I digress. Given how much I listened to this album in my teens, it had been awhile since I’d listed to it all the way through. Sure, I continued to listen to many of the tracks, there are several that would become U2 mainstays, just not the entire album. What struck me most during this process, is that I started my listen grooving with the music, but by the end it all started to seem a little “samey”. At least until the final track “40”, which end things solidly. War is a very good, in not great record, from an obviously important band. I like it, I just don’t love it. As my partner pointed out while we were listening, it would be more enjoyable is you listened 20ish minutes at a time. For me it is a 3.5* record, which means I will have a decision to make at the end of the day. In practice, which direction I fall is mood-dependent. It is a Friday and I’m headed on vacation next week, plus there is a lot of nostalgia, which bodes well for the band. This is important for Bono and gang because where end up landing, writing thoughts that nobody else will read, is obviously a make of break moment for the band.

I usually defend the picks on this list, but WTF? Based on the music alone, I cannot see how this album is important or interesting. At least it isn't for me. If a musician sells out to Hollywood and millions, it doesn't mean that we should lick their shoes. In fact, I feel oppositely. Yes there are some interesting lyrics, but that really isn't enough to carry this album for me. Everything was okay, nothing made me pause and think that I needed to just listen. I call BS on people saying that this was influential to later music. I just don't see it

Another album that I spent my formative years getting high with friends. Arguably among the most formative albums in creating. Industrial music. What is now considered post-punk is really the gateway drug to so much of modern indie music. Listening now, it still rocks, but thinking about bands who created this shit in 1980 gives perspective on how innovative this shit was.

Cloud 9 is almost like two totally different albums, which I guess is understandable considering how experimental the first few tracks were for the Temptations and Motown. The first few tracks are early examples of psychedelic soul, inspired by Sly and Family Stone’s song “Dance to the Music”. The Replacement’s answer has less of a dance vibe, with the guitar and precussion borrowing more heavily from psychedelic rock. Each of these early tracks is groovy, my favorite “Runaway Child, Running Wild” gaining the prestigious spot on my Favorites playlist. The later motown ballads on the album are good, for me they just not as fun and interesting as the earlier, experimental tunes. Though it is hard to not to enjoy the beautiful, soulful singing. Cloud 9 marked a turning point for the Temptations and many critics credit this experiment with saving Motown Records which was being left behind by the counter culture at the time. In fact, this album won Motown Records their first Grammy. This album is a great example of the continuity of music and the influence that musicians have on each other. It started from band members being inspired by a single song, progressed with their producer being forced out of his comfort zone, incorporating elements from several different genres. The result would take the TheTemptations in an entirely different direction, making them legends in the industry. It is also interesting to see how elements of psychedelic soul and psychedelic funk would ultimately help to establish disco and much of the pop music that followed. Listening to this record made me realize that I’ve never thoroughly explored the sounds of psychedelic soul, giving me a new project. Normally, this would be sufficient for me to give 5*, but the lack of internal consistency holds it back.

If you don't like Muddy Waters you don't like blues. If you don't like blues, and like rock, then your are confused. IDK, In high at 8000', so in at least two contexts. Enough said.