A interesting combination of the flavor of music at the time, bluegrass sensibilities, and a forward looking sound that anticipates the kinds of singer song writer music that would dominate the 70s. TFBB blend what may be influences of Harry Nillson, the Rolling Stones, an oddly Hank Williams into a genre bending album that both smacks of its era as well as feels out of place in it.

What can you say? It's The King! The record is a fantastic debut, and a showcase of the alchemy that took place to turn the country, blues, and swing into Rock and Roll. The King showcases many of the styles that would dominate music for the next 5-10 years, inspiring acts like Chubby Checker, Buddy Holly and the eventually bands like The Beatles. Elvis was key in bringing this type of music to broader and white audiences, but he was definitely participating in a conversation of his contemporaries who would not see their efforts rewarded with full length recordings until a few years later (notably Chuck Berry and Bo Diddley). If you are interested in the history of rock and roll, this is quintessential listening.

Micheal Jackson makes a statement about the future of his music with this album. Though still very clearly inspired by older contemporaries like Curtis Mayfield and Marvin Gaye, Jackson abandons the conscious and soulful R&B of the mid 70s to delve into something new. Moreover, it seems that Jackson toys with the supremely popular Disco genre, but stays away from a full commitment to the funky and dance forward sounds (he'd rather burn it out). Instead, we are presented with a soft blending of genres to create a newer sound for Pop music. Amazing singles like Don't Stop 'Til You Get Enough will make you move to the beat, while soft melodies like Girlfriend have funky piano and bass parts that are as at home accompanying Jackson's vocals as they might David Byrnes. I've never been a huge Jackson fan, but this album is a must listen.

This is my favorite Bowie album. The album starts off with a bang, the instrumentals are amazing, and it foretells the kind of experimentation Bowie would continue doing until the end of his career. From the get go, Speed of Life sets the tone for the record, with some typically Bowie hits like Breaking Glass and Sound and Vision. MY favorite bowie song of all time, A New Career in a New Town sets the tone for the B side. Although the back half starts with the oppressive Warszawa, it is followed by some hauntingly beautiful melodies showcasing a beautiful collaboration between Bowie and Brian Eno.

I understand why the album is on the list. I understand that The Kinks are hugely important to the rock of the 60s and their influence on garage rock can be felt even as far into the future as bands like the Black Keys and The Strokes. But by 1969 when this album came out, their contemporaries had moved away from the tried and true sound of the early and mid 60s and were delving into sonically new sounds, pushing rock into newer directions. Although there are some very solid songs on this album, and it is easy to listen to, it does not speak to me.

A phenomenal debut album from a band that would shape music for years to come. Mike Patton crawled so Zach De La Rocha could run. Start to finish this album explodes with funky bass lines, absurd guitar riffs, and incendiary lyrics. One could even say Nu Metal started here, though RATM defies that genre classification. A must listen.

Full disclosure, I love surf and rockabilly, and the B-52s play with the genre beautifully. Planet Claire and Rock Lobster are worth the listen of this album, and most of the songs are fun and catchy, but some just don't hit. In an era where New Wave is about to take over, it is refreshing to see a band so unabashedly in love with old rock styles.