Took a couple listens not to feel like this was some of the cheesiest county I'd ever heard, like he was parodying himself. One you get past the self-satisfied smile in many of the songs, you can appreciate some of the pathos that the humor is covering up. Still not one I expect to return to, but I can appreciate why some of his stuff was influential.

Kind of a electro Gothic vibe with at times almost belligerently repetitive, almost monotonic melodies. Feel like I can hear the seeds of acts as different as The Pretenders and The B-52s.

Musically really interesting, feels very personal while still exploring the medium itself. A little uneven in that it starts strong but flags towards the end.

Less an album of songs than a series of soundscapes for an Alex Garland run of Black Mirror. Evokes a sense of fragmentation, disarray, and paranoia.

I mean, c'mon. Just a great album with so many great hooks and drum fills.

Fun and upbeat

This one didn't do much for me. Lots of soft vocals and mellow moods, but I never felt hooked. I liked some of what happened musically on "Little Bird" and"Monster Love ."

I can see the musical talent, but this wasn't my thing in the 80s, and it's not my thing now. The first couple tracks were all right, but for the just pay the melodies didn't do it for me.

I don't know much about lang or country music from the 80s, so I was surprised at how old-fashioned this sounded. Maybe it makes more sense in context. She's got a great voice, and there's some fun stuff on here. I'm open to hearing more from her, but it hasn't quite made me a fan

Starts really strong but gets a little long by the end. Like a lot of punk, a lot about a vibe as much as the music, but there's also plenty of good rocking happening here.

Gave it two listens and can't get past the campy lounge act quality. If the lyrics weren't so banal, they may have saved it for me.

While there are certainly several great songs on here, this isn't the kind of thing I would choose to listen to, normally. But it's also clearly a different kind of album; it's like you can feel it's significance even today.

There are, like, five great tracks on here and four cringey ones.

I was just fighting with my girlfriend about how irritating synths were in the 80s, and then I get this album. Doesn't totally redeem the aesthetic, but it feels less manipulative and melodramatic. Nothing here sticks out, exactly, but each track has something interesting going on, and it was enough to get me to explore more of their stuff.

I didn't realize so many of her iconic tracks were on this one album. But, then, there are a lot of tracks here. I don't hold her up against my favorite female vocalists, but a lot of these tunes are lodged in my head, and I don't mind.

The first track is more of a soundscape than a melody, though it also has movements, and you're either going to go with it or resist it. The title track is easier to settle into and is really beautiful. Not the easiest thing to get into, but reading reviews and appreciation of this album confirms some impressions and gives language for others: psychedelic, fusion, minimalism, negative capability. One guy compared it to Dylan going electric. Like so much of Davis's work, this album deserves to be listened to on vinyl on a hot night with a bottle of wine. It grows on me every time I hear it.

I don't know that I've ever listened to this straight through, but it's so good.

That first track is majestic; the rest is a ton of fun.

This album stood back so much of what makes his music exciting and let's the storytelling shine through. Even when he gets sentimental or slows the tempo down farther than seems necessary, he's so tapped into the dynamic of hope for redemption versus wandering through purgatory as described in the idiom of the American Dream that it's still always poignant.

I never really listened to Cohen other than heading songs here and there. I've always liked him, tho listening to a lot of him in a row reveals how much he likes certain song structures. Still very good storytelling, and many some are compelling while you hear them even if it's hard to remember the melodies, such as they are.

Took a couple listens not to feel like this was some of the cheesiest county I'd ever heard, like he was parodying himself. One you get past the self-satisfied smile in many of the songs, you can appreciate some of the pathos that the humor is covering up. Still not one I expect to return to, but I can appreciate why some of his stuff was influential.

I've known this album for years, and it took me a lot of listens to really appreciate. It's one of those albums that I don't necessarily choose, but when I hear it, it always takes me on a journey.

Okay, this is the first one I feel I have enough context and familiarity to wonder why it's on this list. I liked it fine in H.S., but even then "Only Hair When it Rains" felt a little disingenuous, or at least like a lyric that's trying too hard and also not hard enough. It brings back some memories, but I don't know that I feel one *must* listen to it.

Found a lot of this interesting and fun, some of it was a little meandering. Liked "Supreme I Preme."

I feel like this was a band the "real" music kids were into. This album wasn't enough to help me understand them; they should have gone with Loveless, which is more accessible. M b v feels like an album you like if you already like the band. Also, do the lyrics actually matter, or are they just more texture? I don't think I understood a single line.

A lot of fun stuff on here. Doesn't grab me quite the same as Burns Vista Social Club, say, but someone I'll keep exploring.

I don't think of The Byrds as a band I love, but they are uniquely able to put me in another state of consciousness, wch is not nothing.

A strong album, and it led me to a few other acts like The Frightners.

This is a guy who's really got his own thing going, and sometimes it's fun or poignant, and sometimes it feels rambly. It's never something that has grabbed me when I'd I can appreciate it conceptually. I liked "Louisiana, 1972."

Maybe not a perfect album, but the first half is so strong that I don't really care. I didn't grow up with but came to it in college, so the nostalgia factor is not strong. It made an impression then and still grabs me now.

Today I learned I don't care at all about Steely Dan. Literally skipped thru every song. Just felt so cheesy.

There's nothing on here that hits me as hard as his Beatles stuff, but I still find it a powerful album. Possibly his most personal, but still with his characteristic sense of the absurd.

Lots of great energy here, and you can see why he was popular. It's a different side of him than I know from the radio, for sure. I didn't really love any of the arrangements, tho. It felt like a lot of show without real emotion. I'm sure it was fun to be there, and it's interesting as a document, but I guess it's not what I enjoy about Sam Cooke.