Heretical as it is for me to say as a Chicagoan, pure blues has never really been my genre, as much as I can appreciate it as one of the crucial building blocks of modern music. King's technical skill and overwhelming charisma come through in spades on this album, but for me, personally, I struggle with each track seeming sort of same-y, which I often feel when tackling blues-qua-blues.

This is very much not my sort of thing. Fast Car remains a jam, but for me this sort of washes over me like a lot of other socks-and-sandals folk records.

Sort of impossible to listen to an album of what were mostly at the time and now are standards and come away truly wowed. As thieves of Black music go, he's no Page & Plant, but I enjoyed it well enough. Great cover tho.

This greatly exceeded my expectations. The first two tracks absolutely whip, the first sort of struck me as pleasurable in the same way a Henry Mancini soundtrack is, and the second genuinely rocked, which is not something I expect in the jazz fusion world. The rest sort of wore on me and got pretty same-y, but overall a good listen and something that may enter the rotation as background/working music. Will probably check out other Zappa as a result, which is also contrary to my expectation.

With the exception of "Ohio" and "Suite: Judy Blue Eyes" most of CSNY is pretty meh for me, although it has a few standout moments, mostly from Young.

Reminiscent of the Charlie Brown Christmas soundtrack (complimentary). Not a jazz guy but lovely as background music.

This came up and I audibly said "Yesssssss..." So sad, so sexy. Great album.

I prefer weird rock Bowie to weird dance Bowie, but the latter is still a pleasure as well.

Meh.

A few high moments, but indie pop just ain't my thing. Meh.