Either “Somebody to Love” or “White Rabbit” would be enough to get me close to four stars, but—of course—Surrealistic Pillow has both! Wow. And there’s all sorts of good (maybe not GREAT?) 60s psychedelia elsewhere on the album. Grace Slick *made* this band, eh?

I love the entire album’s sound. But how did anyone ever think “Smack My B**** Up” was a good idea?

By itself, “Higher Ground” gets the album close to 4.0 stars, eh? Nothing else on “Innervisions” is quite as transcendent, but Wonder set a cool funky-soul vibe and committed to it. So good. This is probably closer to 3.5 stars than 4.0. But I’m happy to round up.

Pleasant enough indie folk, which is right up my alley. Impressive as a debut, for sure. Cohesive and tight. Is this really one of the greatest albums of all time? Hmm. I’m not sure any of the songs are, erm, “great.” I really like “Your Protector” and “He Doesn’t Know Why,” though. Probably closer to a 3.5-star album.

Completely uninteresting. Sounds like the soundtrack to a The Monkees-wannabe TV show that was somehow geenlighted decades too late.

Inoffensive. Needed more Brian and less Carl Wilson. I sorta liked “ Take a Load Off Your Feet” and “Student Demonstration Time.”

Worth four stars just for “Rikki Don’t Lose That Number.” Really stellar. Probably 4.5 stars for me.

I probably resisted this at the time because it seemed like Nirvana-lite? That doesn’t seem so much like a bad thing now. Really like: “I’ll Stick Around” and “Big Me.” The album is about 15 minutes too long, though. This is really closer to 3.5 stars.

I’m always a bit skeptical of live albums, but how else am I gonna know what a Sarah Vaughan concert sounded like in 1957? So smooth. Is the clunky improv on “Willow Weep for Me” a bug or an actual feature? I could argue that either way.

Is “Sultans of Swing” enough to get this album to four stars? Maybe? But just barely. In reality, the album is probably not quite worth four stars. But it’s close enough to round up.

Undoubtedly important and influential. It’s not really my jam, though. There’s nothing about the sound that makes me want to engage more. I’ll always take Talking Heads over Television, I guess. If I had the option, I’d give this 3.5 stars.

This is pleasant enough. I’m not really drawn to the singles (e.g., “We Had It All”), but “Omaha” is really nice. I’m a lot more drawn to Jennings’s later work.

Surely one of the best live albums of all time. The sound isn’t quite ideal, but there’s an immediacy….

Honestly, I’m on the fence about whether this is a four- or five-star album. It’s very, very good, especially in the middle third (“The Passenger,” “Tonight,” and “Success”). You can hear a lot of David Bowie’s influence, even though Iggy had wanted to move away from that a bit. But Iggy’s punk is there strongly, too. There are some flaws. The mix on the title track seems off (it’s hard to hear Iggy). And the final three songs just leave me cold. So, with some regret, I’ll give this “just” four stars.

I’ve been trying to decide whether this album is just boring (two stars) or affirmatively annoying (a single star). I’m rounding up and giving it two stars—on the strength(?) of Paula Frazer’s vocals on “Good to Be on the Road Back Home” and the Punjabi cover of “Norwegian Wood.” “Brimful of Asha” has *not* held up well over the last 25+ years…. There is no universe where this album is one you *must* hear before you die. Sheesh.

There aren’t any profound ideas here, I guess. But when an album is this velvety, who needs profundity?

None of these songs really caught my attention in 1992. The (90s-style) non-edgy pop sound wasn’t quite my jam, I guess. And still isn’t. But the stretch from “Confetti” to “My Drug Buddy” is catchy—and reasonably smart. Pleasant, not life-changing. P.S. The cover of “Mrs. Robinson,” which was a B-side and added to the re-release, is *quite* good.

I’m fundamentally uninterested in this kind of early rock. And very little personal warmth or charm comes across in this live recording. There’s definitely energy, though. This is probably in the neighborhood of 2.5 stars for me.

Beautiful melancholy. The vocals are compelling. But I would need a lot of time to really get into the songs, which—to this relatively uninformed ear—often offer more feeling than message. Of all the tracks, “Fruit Tree” probably resonated the most with me. Runner-up: “Saturday Sun.”

Worth four stars just for “Old Man.” And there’s “Heart of Gold,” too! There is some real weirdness, too, though. Why, oh, why is the London Symphony Orchestra backing Young up—in an over-the-top way—on “A Man Needs a Maid” (the hell?) and “There’s a World?” Jarring stuff. Probably close to 4.5 stars.

*My* perfect album would be a little rougher or edgier, I’m sure. But “Eleanor Rigby” and “Yellow Submarine” are just about enough for five full stars, eh? And there’s more good stuff here, too—including the swoon-worthy “Got to Get You into My Life.” So, so good.

“Poison Arrow” and “The Look of Love” are five-star songs. “Tears Are Not Enough” and “All of My Heart” aren’t far behind. The rest of the album? Yeesh!

This album might show Winehouse’s promise. But there isn’t a world where *this* debut is one of the 1001 albums you absolutely must hear. Good vocals, but not especially memorable. The songs aren’t mature. Props to Winehouse for “F*** Me Pumps,” though.

Why? Completely uninteresting in both sound and message. I went to grad school in a small, dusty farm town in Ohio at about the time this was released. I could’ve heard something like this at the college bar on Main Street. No thanks. If I had to recommend a song? Maybe “Liberty for Our Friend.” But, again, why?

I somehow missed this in 1990?! Even with the sexy themes, it’s somehow less edgy than a Fresh Prince album. Yikes. Are we sure this wasn’t a colossal joke? I rounded up to two stars.

The spoken-word introductions are more baffling than helpful to me. But the music is absorbing. So, so good.

This sounds like standard-issue(?) Beck, if there is such a thing. But I can’t say any of the songs, except maybe “Broken Drum,” really speak to me.

Interesting and evocative vocals, of course. None of the songs really land with me, though. The cover of “Country Comfort” is probably my favorite.

“The Killing Moon” is a helluva song, of course. I just never connected with the rest of the album. And I still don’t! Given my age and tastes, this album should take up prime real estate in my wheelhouse. The songs just don’t land, though. I generally like *the sound,* but that’s the best I can say.

It’s hard for me to accept that this might be one of the best albums ever. Really? But I’m always game for some spare, beautiful melancholy. More mood than substance, though.

I love the entire album’s sound. But how did anyone ever think “Smack My B**** Up” was a good idea?

I have loved this album from Day 1. So many smart songs! “Space Cowboy” is an all-time fave for me. And Musgraves’s delivery is engaging and absorbing. This is probably close to a 4.5 for me.

Surely one of the greatest live albums ever! On repeated listens, some of the chatter and audience sounds gets a little old, but that’s a minor drawback. The performance is so, so strong. Maybe best of all, I appreciate the band’s focus on its deeper cuts. Highly recommended.

So many stellar songs! And her vocals aren’t really as, erm, winsome as the stereotype suggests. I wish, I guess, that she’d written more of the songs. But her taste was exquisite, and she made the songs *hers.* I could listen to this over and over.

Inoffensive and pleasant—except for the child’s voice on “You Didn’t Have to Be So Nice” and the downright jarring “Parade (A Banda),” which seems to have flown in from another (Sousa-esque) musical universe. There’s nothing too memorable here. I liked the songs in Portuguese best, but maybe their lyrics are just as pedestrian as the songs in English?

This is not really my thing, I suppose, but the album is obviously well done. The first three songs are standouts. Simz’s collaborations with other vocalists work so well. And her sound/rapping is engaging. This is a solid 3.5+, so I rounded up.

Solid. But this isn’t an essential White Stripes album, is it? I appreciate, though, that the band was open to some new sounds. Marimba FTW!

I love the sound. Of course! And this iteration of funk absolutely captures a certain time and place. There’s some potty humor that might get old on repeat listens, but that’s a small sin.

This is not my jam, but I know it’s one of the most influential metal albums of all time. The band developed a distinctive sound—and committed to it. There’s some good righteous anger here, too. But “Iron Man” is the only song I’ll want to revisit.

There’s something potentially weird, of course, about a cultural idea/artifact that doesn’t actually reach the public until decades after the milieu that first sparked it. But the distance—from both 1967 and 2004—helps shake some of *that* weirdness off now. BWPS is genuinely beautiful. In places, it’s so, erm, smooth that you sorta yearn for more edge, even. Despite the smoothness, there are all sorts of unusual effects and sonic places to enjoy. And Wilson’s voice sounds much like it did 35 years before. In the end, it’s an almost brilliant (secular) oratorio from a long-ago era of psychedelia. I can’t quite discern its actual message, if there ever was one. And that’s a problem, of course. But given the beauty, it’s a problem I can live with.

So good. Why didn’t I pay any attention to this 25 years ago? The hooks? The heavy percussion? The sorta trippy vibe? Yes, yes, and yes. I particularly like “Gasoline Dreams” and “So Fresh, So Clean.” And, of course, “Ms. Jackson.” The album drags a little at the end: a better album might’ve dropped some of that (and been 15 minutes shorter). But that’s a small criticism. The album really takes you on a ride…. Highly recommended.

The title track is one of the greatest country songs ever, of course. But there are so many smart covers here, too, including Ernest Tubbs’s “Tomorrow Never Comes” and Johnny Russell’s “Making Plans” (later recorded to perfection by Porter and Dolly). Lynn’s voice is at its peak here, and her proto-feminist vibe is—happily enough—easy to perceive in the song selection. The 60s production values are, especially in a few places, regrettable. But overall this is a gem.

Guitar solos? Check. And at near-cliché levels. Good god, just stop. Even the version of the should-always-be-fun “The Boys Are Back in Town” becomes a test of patience. The album exemplifies what can go wrong with live albums—distracting crowd sounds, muffled vocals, musical excesses that only make sense (if then) at an actual concert. No.

Either “Somebody to Love” or “White Rabbit” would be enough to get me close to four stars, but—of course—Surrealistic Pillow has both! Wow. And there’s all sorts of good (maybe not GREAT?) 60s psychedelia elsewhere on the album. Grace Slick *made* this band, eh?

I had never heard of Skip Spence! I generally like the mildly psychedelic vibe, but I wish there was a bit more variety. His voice was pleasant enough. I would probably have to sit with these lyrics for a long, long, long time to . . . relate to them.

I mean, I like “Lovefool.” But there’s nothing essential about even that. And the rest of the album, while pleasant enough, isn’t at the level of “Lovefool.” I rounded up to three stars.

Musical and influential, of course. Many of the lyrics come across—now and, as I remember it, then, too—as more juvenile than anything else. “Gangsta Gangsta” and “Express Yourself” remain essential. I’d give this 3.5 stars if I could.

Great voice, of course. The production is so . . . old-fashioned, though. And not in an appealing way. For instance: songs that are spoken more than sung. Or: background singers that would make more sense these days in an amateurish radio ad. Etc. This is an album that looked backward (to the 50s) and not ahead to the R&B and rock revolutions that were already breaking.

Classic. I loved Graceland in 1986, and I love it now. The tracks are amazing, moving from one spectacular song to another. Even the one or two “weaker” songs (near the end) are downright solid. Damn. And, of course, the sound was like little else in 1986. It still sounds fresh—and interesting. My ideal album probably has a little more sonic edge to it. But is that a good reason to withhold the fifth star?

By itself, “Higher Ground” gets the album close to 4.0 stars, eh? Nothing else on “Innervisions” is quite as transcendent, but Wonder set a cool funky-soul vibe and committed to it. So good. This is probably closer to 3.5 stars than 4.0. But I’m happy to round up.

Important, absorbing, musical. The beat/percussion really draws in the listener. The title track is a masterpiece. I wish the album were 20 minutes longer—and I never say that.

I didn’t get into this in 2004, but, gosh, I should’ve. What a distinct, fresh sound. Experimental. Listenable from beginning to end, but the album starts off really strong with “The Wrong Way” and “Staring at the Sun.” I loved/appreciated so many of the lyrics—even on these first listens (e.g., in Ambulance, “I will be your one more time if you will be my one last chance”). Highly recommended.

The hit here, “Connected,” is a good—not great—song. And the rest of the album isn’t close to the level of “Connected.” Yikes. In what world is this one of the best albums ever?! (Not this one.)

The title track is one of the great songs of the 60s, of course. The rest of the album is filled with good, energetic, thankfully-edgier-than-The-Beatles pop. If I liked just one of those songs as much as “My Generation,” this would probably be a five-star album. Close to 4.5, I’d say.

“Kashmir” is a great song! I don’t like anything else on Physical Graffiti quite as much, and, tbh, there’s a fair bit of . . . bloat, too (especially on sides three and four). But the album is deservedly influential. If I could, I’d give it 3.5 stars.

“One” is one of the great songs of its era. I don’t enjoy the other singles *quite* as much, but “Who’s Gonna Ride Your Wild Horses” and “Mysterious Ways” are damn good, too. Bono’s aching vocals pair so well with the album’s darker lyrics/mood. Is this a four- or five-star album? I could argue that either way. If the album were just a little tighter (one or two fewer songs, maybe?), the choice would’ve been clear.

This was completely new to me. What a distinctive, intoxicating sound! I’m sure some listeners were put off by the vocals, but I liked their experimental, often-near-atonal quality. After three listens, some of the lyrics remain . . . opaque to me. But I’ll keep at it. An early highlight for me: “We Still Got the Taste Dancin’ on Our Tongues.”

Fine, it brought bossa nova to the States. I’m not sure the last 60+ years have done the album any favors, though. From this vantage point, Jazz Samba is so smooth that it seems almost saccharine. Like musical wallpaper. Luxurious wallpaper, of course. But still wallpaper. I’d give this 3.5 stars if I could.

Fun! The album displays some of the flaws of any live album (e.g., audience noises), but Brel’s distinctive voice is the focus. I don’t have enough French to relate that well to the lyrics (my bad), leaving me to relate to the vibe and Brel’s energy. Within *those* strictures (again, my bad), the album isn’t quite essential.

I probably like the recording of “You Gotta Move” more than either “Brown Sugar” or “Wild Horses.” But that may say more about my fondness for that traditional spiritual than anything else. The Stones aren’t really my jam; among other things, I just don’t find Mick’s vocals all that appealing or interesting. But I have to respect an album with these three songs. I wish I could give this 3.5 stars.

This is obviously a classic, and “Whole Lotta Love” undoubtedly deserves its place in the rock canon. I wish I could hear the album as I might’ve in 1969. Fifty-plus years later, I sometimes hear excess. Does that extended guitar solo on “The Lemon Song” need to be there? What about all that dang drumming on “Moby Dick?” How many times can Robert Plant sing the word “baby?” Hmm. Anyway, thank heavens for Robert Plant’s vocals! They’re what keep me engaged. At the end of the day, I’m just more interested in what came in the wake of Led Zeppelin than in the band’s own sound. That’s my own failing, I’m sure.

One of the best voices we’ll *ever* hear! And smart, gorgeous songs. Beautiful arrangements. Sure, the album is three-plus hours long. But can there be TOO MUCH perfection? Nope. No, sir.

I really only know Happy Mondays from its cover of “Tokoloshe Man,” which was on Rubáiyát, the compilation marking Elektra’s 40th anniversary. That cover was absolutely outstanding—and featured an edge that’s largely missing from Pills ‘n’ Thrills and Bellyaches. “Kinky Afro” is probably my favorite song here. Maybe a vibe with a little less rave and a little more punk would’ve hit the sweet spot?

I’m not sure why I never got into The National. Did taste freeze set in for me just before the band hit? Maybe! For what it’s worth, I’ve enjoyed a lot of Bryce Dessner’s other work. The vocals here are a little low-key, but the band’s sound is up my alley. The lyrics are smart and engaging. If I’d processed it in 2010, “Sorrow” absolutely would have been one of the songs of my year. So good! When I actually listened to it today, I immediately stopped everything I was doing. And then hit repeat about a dozen times in a row. That’s a helluva song—and about one of my favorite(?) topics, lost love.

Whew, that’s some heavy melancholy. I know the consensus is that this is Drake’s best album. Probably so? The lyrics are a little more approachable, I think. Better, even. I sort-of yearn for a *little* more sonic variety, though. Fine work—especially the title track.

Reasonably pleasant. A bit too smooth (saccharine?) at times. I liked “Don’t Worry About It” far more than either of the singles; it just had some edge, and relatable(?) weirdness, that the rest of the album lacked. This probably wasn’t one of the best 75 albums of 2004; there’s simply no way it should be on this list. I’d give this 2.5 stars if I could.

This is, what, something like Springsteen’s 10th best album? It’s pleasant enough, and I’m still drawn to a couple of the non-singles (“Let’s Be Friends (Skin to Skin)” and “Further On (Up the Road)”). But this is far from his best work, and it’s not essential.

Influential, of course. But I’m not sure the years have done Riot any favors. There’s a lot of more energetic, soulful funk to find now (again, thanks in part to the influence of Sly & The Family Stone). I appreciate the socially conscious lyrics.

I have always loved this album. It sets a mood—and commits to it. My favorite tracks are probably “Heresy” and “Hurt,” but the album commands your attention from start to finish. *Maybe* the album could’ve, or should’ve, been 10 minutes shorter? But if that’s a flaw, it’s a minor one.

Superb! I know this is considered her masterpiece, but I wonder how much of that is due to its being considered her comeback. In my mind, anyway, 1987’s Strange Weather was a touch stronger. (And it has a redemption angle, too.) Anyway, I love Broken English’s early-ish New Wave sound, and the songs are strong from start to finish. Of course, Faithfull’s world-weary vocals are always the draw. If I could, I’d give the album 4.5 stars.

Sadly, my French is not up to this. But big FLOW! So much fun just to listen to.

“Blowin’ in the Wind,” “A Hard Rain's A-Gonna Fall,” and “Girl From the North Country” get Freewheelin’ pretty close to five stars, eh? And yet there’s much more! In terms of vocal quality—and, well, the sound (harmonicas galore?)—this isn’t my very favorite Dylan album, even if so many of the songs are absolutely essential. I’d like to give Freewheelin’ 4.5 stars, but it’s probably just a bit closer to four than five, so that’s where I’ve landed. (If I gave Freewheelin’ five stars, I’d have to give them to six or seven Dylan albums! I’m not *quite* that much of a fan?)

Pleasant enough indie folk, which is right up my alley. Impressive as a debut, for sure. Cohesive and tight. Is this really one of the greatest albums of all time? Hmm. I’m not sure any of the songs are, erm, “great.” I really like “Your Protector” and “He Doesn’t Know Why,” though. Probably closer to a 3.5-star album.

I don’t hate it. I appreciate the early-New Wave. But the album is pretty darn insubstantial. The title track is a lot of fun. This is probably closer to a 2.5-star album.

Important, of course. Not every second holds up perfectly 35 years(!) later, I suppose, but songs like “Fight the Power” and “911 Is a Joke” still command your attention.

Metal fans say this isn’t Metallica’s best album, I know. But it’s the most approachable. I’m no metal fan, but I sure do love “The Unforgiven” and “Nothing Else Matters.” The album probably, erm, lingers longer than it should….

I am down with experimental music. And industrial vibes. And, well, NOISE. But They Were Wrong just doesn’t seem particularly . . . mature. The lyrics have something(?) to do with witchcraft. Even if I were inclined to, I don’t think I could follow the concept. Worse, though, the sound just isn’t compelling. I’ve listened to the album twice now, but I haven’t found much I’d ever want to engage with again. Maybe a few parts of “We Fenced Other Gardens with the Bones of Our Own?” Maybe not even that.

“Roundabout” is quite good. But from this vantage point, the album just seems like competent, not transcendent, prog-rock. This isn’t the prog-rock I’ll return to when I (rarely!) have that itch. And this isn’t even the Yes album I’d turn to when I want to hear the band. (90125, from my “own” era, is what I’d want to hear.)

I’m more familiar with Neil Young’s Harvest. On the Beach doesn’t reach its heights. On the other hand, there’s nothing here as, well, odd as a couple of Harvest’s tracks (e.g., the orchestra appearing out of nowhere). On the Beach is steady and solid. I still prefer Harvest.

I love R.E.M. But it’s always been slightly harder for me to connect with the band’s early work. Maybe if I’d just been five years older when the band broke…. Anyway, I know how important Murmur was. It sounded incredibly new and fresh, and the world rightly took notice. “Radio Free Europe” is unquestionably one of the band’s best songs. Even I get that! I do think Side 2 of the album is a bit weaker—or, at least, harder for me to relate to. If I could, I’d give the album 4.5 stars.

The album somehow sounded like 1983 or 1984 even in 1979. And, yes, that’s a good thing! “Disorder” is a helluva song.

I love this album so much. By the time it released Document, the band’s sound was mature—but still, thank goodness, quirky and distinctive. Delicious! “Finest Worksong,” “The One I Love,” and “End of the World” would be enough to get me to five stars. But I’m pretty much *just* as keen on the deep cuts, especially “Exhuming McCarthy” and “Oddfellows Local 151.” The album is solid from start to finish. There’s simply no doubt: it’s a five-star offering. R.E.M. was one of the two or three preeminent bands of what I think of as *my* time, and this album shows the band at the start of its (long) peak. So, naturally, it has been one of the soundtracks to my life. Sniffle.

I’m never going to be a fan of Mick’s vocals. But this sounds as much like an old-school blues album as the Stones, given their rock priorities, could’ve managed. “You Can’t Always Get What You Want” is essential, of course.

Pedestrian. Inoffensive. Far less impressive than the vast majority of albums on this list.

There are a lot of interesting textures here. And, well, lyrics that haven’t held up that well in the last 30 years. Also, if you’re going to sample “I Will Survive,” you shouldn’t leave the listener wishing he’d just spent four minutes with the far, far better original.

Brilliant songs—and definitive versions of them. Adult and sexy. Swoon.

I really like “Black Magic Woman” and “Oye Cómo Va.” Of course! The rest of the album (and especially Side 2?) isn’t nearly as absorbing.

Somehow, this is completely new to me—even though I was sentient, and even paying attention, when it came out. I appreciate that a punk band doesn’t have to sound like the stereotypical PUNK band. Punk is really just about freedom and, well, some kind of DIY ethos. That’s all here. Still, I’d probably enjoy a sound with a little more (stereotypical?) screaming. Screaming can be musical, y’know? Is this? “This Ain’t No Picnic” is probably my favorite song on the album. There’s some good screaming there. Hmm.

Interesting songs, with “My My, Hey Hey” being the best and most familiar. Some of the recordings started with live cuts, and I sometimes found the sound/audience noise to be a distraction.

I prefer Metallica’s Black Album, which is more approachable, I guess, for a non-metal fan like me. But the sound here is polished, and the songcraft is mature. Just not my thing, I’m afraid.

I bought this one when it came out. It sets a mood—languid, adult, and queer. Those are very good things, of course. But is this one of the greatest albums ever? Hmm.

The album showed a fair bit of promise. I especially like “Amazon” and “Hombre,” neither of which were singles (hmm). M.I.A.’s voice is distinctive and interesting. But Arular is *not* quite one of the best albums of all time.

Influential, of course. Some off the lyrics haven’t held up that well. It sounded ‘raw’ 30 years ago. A fun mess but not quite a glorious one from this distance.

Proto-Grunge, I guess (though I never really thought of it that way until I embarked on this mind-broadening 1001-Albums project). “Gigantic” is pretty wonderful. Other songs (e.g., “Where Is My Mind?”) have their moments, too. I lived through this era, and this actually sounds to me now like the 80s were giving way to something new. I’m not sure the album is quite a four-star outing (in this project, where nearly everything is remarkable), but it’s darn close.

Juvenile lyrics. From this vantage point, decades later, the sound often comes across as a bit . . . cartoonish. Like, literally, something sorta “punk” that would play under a cartoon. Did the album really sound fresh in 1977??? Hmm.

I could—and should—really spend some time with this album. It features songs of a genuinely high quality: like the best parts of the Peter Gabriel album I know best, So, *without* the super-annoying “Sledgehammer.” Heh. “Games Without Frontiers” is exquisite. And “No Self Control” isn’t far behind.

So many bangers! The entire second half of the album—from “Waiting for the Night” through “Clean”—is one of the most impressive stretches you’ll ever hear. And that stretch doesn’t even include “World in My Eyes” or the downright essential “Personal Jesus.” What a great song “Blue Dress” is! It’s under-appreciated because it’s surrounded by so much . . . quality. Amazing. Solid, from beginning to end, really. Easily a five-star album! Swoon. P.S. Ask me sometime about how my mom’s car was rear-ended while we were listening to “Enjoy the Silence.”

Juvenile lyrics, but the band chose a sound—and committed to it. Polished, in its way. I have to respect that. Aside maybe from “You Shook Me All Night Long,” I didn’t want to hear this coming from the back of the school bus (where all the older, mean kids were) in 1980. And I don’t need to hear it now.

Competent—especially the stretch from “Stay with Me” through “Memphis.” I wouldn’t say anything here was close to essential, though.

Muddy vocals, and several songs are uninteresting or even affirmatively annoying (e.g., “In the Ghetto”). But “Suspicious Minds” is a helluva song—and helps make up for *some* of the album’s drawbacks.

This was completely new to me. Interesting sound! I might’ve wished for a little more variety from song to song, but I appreciated the quirkiness, especially in the vocals. The album isn’t really essential, though. I might give it 3.5 stars if I could.

Some of the band’s experiments that moved away from straight-up punk (to metal, to reggae) didn’t quite work. And there’s some silliness in the lyrics and themes. But the album is largely listenable, if nowhere near essential. I wish I could give the album 2.5 stars.

More of a bit, or performance piece, than an actual album. Waits can sing, of course. But there’s a lot of spoken word here. And more acting and comedy . . . than actual songs.

Nilsson’s cover of “Without You” is, well, absolutely definitive. Nothing else on the album is nearly as strong. And one of the other singles, “Coconut,” which is sung in some “island” way, is borderline offensive. What a mixed bag!

“Wishing Well” is a helluva song. I never took that much to the rest of the album, though, and that remains true. The 80s-trappings on the album are something. Something too much, I mean. And *I* love the 80s. But, here, they too often get in the way of stellar vocals.

The title track is the only song I knew before listening to the album. And The Big F’s cover of “Kick Out the Jams” (on Rubáiyát, the compilation marking Elektra’s 40th anniversary) is far, far better.

There’s some muddy sound and audience distractions here, but “Cupid”—by itself—is enough to get the album to three stars. I’d give this 3.5 stars if I could.

Musical, interesting, creative. I didn’t know Mike Ladd or this album, but I’m pretty much blown away. Not all of these hip-hop experiments(?) work completely (e.g., “Takes More Than 42”), but most of them do (e.g., “5000 Miles West of the Future”). I look forward to spending some time with the smart, off-kilter lyrics. Wow.

“Smooth Operator” is essential. And “Your Love Is King” isn’t far behind. I don’t think anything else on the album quite approaches those heights, but even the less-than-stellar is sure darn pleasant. SMOOTH, as nearly every review here says. When this album came out, I thought Sade was headed to a stardom that few reach. She became a star—but not on, say, Madonna levels. The promise was there. I wonder why the super-super-stardom didn’t happen. Hmm.

Of Drake’s three albums, Bryter Layter probably gets the least love from critics. But I really appreciate the more upbeat arrangements, which allow Drake’s vocals to be appreciated/considered in a new way. So good. I’m especially drawn to “One of These Things First.”

A *purposely* ridiculous sound is still ridiculous, y’know? What is there to say when the best song on an album (“Bohemian Rhapsody,” naturally) is essentially a (fun, good) novelty song? A little bit goes a long, long way.

Reasonably pleasant. But what on Earth is it doing here? It’s nowhere close to essential.

Gosh, “Respect,” “I Never Loved a Man (The Way I Love You),” and “A Change Is Gonna Come” are—by themselves—surely enough to get the album to four stars. I guess I wish Franklin’s own compositions here were more memorable, but she absolutely made these covers her own songs. I’d give this 4.5 stars if I could.

Cool, energetic, even intense. So good. It’s a minor quibble, but maybe the vocals/lyrics could be a little more prominent (vs. all that harmonica) on some of the songs. I’d give this 4.5 stars if I could.

Smart and fun. I really, really like “These Walls.” And several other tracks, too, are nearly as appealing. It’s minor criticism, but there *is* a little bit of . . . bloat on the album (which inhibits repeat listening).

Thrilling jazz-punk (or punk-jazz?). I’m not 100% sure I’d want to listen over and over again, or every day, but the album is sure fresh and distinctive. Finding albums like this is what I wanted from this project. I’d give the album 4.5 stars if I could.

“Paper Planes” is pretty great, of course. But nothing else on the album approaches that quality. Still, I’d say Kala might be slightly better than Arular. I won’t be returning to either very often, though.

Essential. By itself, “Light My Fire” would probably get the album to four stars. But there’s so much more, including “The End” and “Break on Through (To the Other Side).” The sound is absorbing—and like no other band, of course. I love Jim Morrison’s vocals and Ray Manzarek’s keyboards. If you asked me to conjure up the sound of mid- or late-60s California in my head, this is what I’d hear, I’m sure.

“Money’s Too Tight (To Mention)” and “Holding Back the Years” are each essential, and the cover of Talking Heads’ “Heaven” isn’t far behind. Hucknall’s voice is rich and evocative. I had Picture Book on vinyl back in the day, and I played the dickens out of it, particularly Side Two. So good.

This is surely the best Led Zeppelin album, eh? To my ear, the album’s first side is considerably stronger (e.g., “Black Dog” and “Stairway to Heaven”). There’s some bloat on the album, especially on Side Two. Still, you always have to respect the way the band incorporated metal, blues, and even folk.

This is surely the band’s best work. “Otherside,” “Scar Tissue,” and especially the title track are good, if not quite great, songs. The lyrics are often heavy-handed and juvenile. And Kiedis’s vocals are sometimes just a bit short of, well, musical or interesting.

Smooth. Maybe so smooth that the songs aren’t even memorable. Yikes! Great voice, of course. Think what he could’ve done with some actual songs.

Beautiful voice, of course. I somehow like the album’s themes (love, relationships) more than the actual songs. (“Raised on Robbery” actually sorta annoys me.) Do these songs . . . describe feelings more than invite the listener to experience them? Hmm. Anyway, Mitchell’s work at this point was more about pop than folk, and, as far as I’m concerned, that’s not a compliment (either in 1974 or now, for that matter).

I somehow didn’t know this album, and it’s hard to understand why. This should’ve been up my alley in 1993. I really appreciate the sound, after all. Smart songs, too. I don’t quite connect with the vocals. If I did, this would be a solid four-star offering. As it is, this is probably closer to 3.5 stars.

“Bloody Well Right” and “Dreamer” are the reasons to listen to Crime of the Century. Maybe the only reasons? Ok, that was harsh—but not far off.

Late-in-the-day U2 doesn’t get a lot of respect, but there are so many standouts here: “Beautiful Day,” “Stuck in a Moment You Can’t Get Out Of,” “Walk On,” “New York,” and “Elevation.” IMHO, “Stuck in a Moment” is one of the band’s *all-time* best songs.

“You Haven’t Done Nothin’” is the star here. Classic. Nothing else, including “Boogie On Reggae Woman,” really comes close.

“Reckoner” is absolutely essential. And several other songs—“Weird Fishes/Arpeggi” and “House of Cards” among them—probably are, too (or at least aren’t far behind). Swoon. Surely one of the best albums of the dang 21st century!

I don’t hate it. It’s competent punk. But I have no idea why it’s here. I might give this 2.5 stars if I could.

The instrumentation and, well, the experimentation really appeal to me. The sound, if undoubtedly grounded in 1970s-appropriate glam, is nevertheless fresh and futuristic 50 years later. Still, I guess I have to confess I find some (not all!) of Eno’s vocals to be jarringly uninteresting in comparison to the cool music.

How did a folk album become one of the greatest rock albums of all time? I’m not sure. But the songs are smart and interesting. And Morrison’s voice is darn engaging. I especially like “The Way Young Lovers Do.”

Absolutely essential—and always a pleasure to listen to. Smith’s vocals are strong and gritty/rough (yes, that’s a compliment).

Phair’s delivery is inviting, but it’s the smart writing that really pulls me in. Both “6’1”” and “The Divorce Song” are incredible. A good break-up song is dang relatable!

I don’t really . . . relate to the lyrics, but that Bowie sound is pretty much all I need. I appreciate the experimentalism, and you can hear precursors of what was next in Bowie’s career

The title track and “Train in Vain” are essential. And the rest of the album is dang solid from start to finish. Punk yet melodic, New Wave yet thoughtful, hard-rocking yet warm. It’s downright amazing that a double album could be so dud-free. Easily a five-star album! A classic.

Quirky and varied—even all-over-the-map. I like the range of sounds, which, somehow, don’t pull the album out of 60s psychedelia. Not too much, anyway. Still, some of the songs veer a little dangerously toward . . . novelty music.