Gives me flashbacks of the mid and late 00s, in clubs in Tokyo and Rhode Island. Not all of the memories it brings up are pleasant ones, though I suppose I have the music to thank for making me sort through them again.

Better than I thought it would be but I still had to listen to it in shifts. The memory of the songs of theirs that I really like... Hazy Shade of Winter, Cecilia, Sound of Silence, 56th St Bridge Song... propelled me through, and I do like their vocal harmonies, but I think this is one band where I can honestly say I like their greatest hits, and not much else. Respect them? yes.

Liked the deep cuts more than the singles, though that could also be because of over-saturation. I think this one is winding up in my regular playlist.

I remember liking this as a teenager and being fascinated with the videos, but I rediscovered it again as a young sailor in the 90s, a year or so before Bat Out of Hell II came out. It's nice re-rediscovering it again and falling into the uber-dramatic lyrics.

Oh man… why didn’t anyone tell me that “Living For the City” was such a banger? (Okay, I might not have listened…) And the chord progression and piano melody lines in “Misstra Know It All” are amazing. I already knew how good “Higher Ground” was, but I definitely didn’t know that was not the best song on the album.

Not bad. I still think I prefer trip hop but this is worlds better than the albums on either side of it. I wish they’d kept on going in this direction. It definitely belongs on a list of great sophomore albums.

Pretty decent. I knew the first song of course, and I remember reading about "CTA-102" in Carl Sagan's discussion of the discovery of that pulsar, but the rest was new to me, and better than I had expected. I'd probably give it 3½ stars, but I decided to round up.

Innovative and well-made, but it just wasn't terribly exciting. I could use this as background music but not for intentional listening. It reminds me of the difference between Moby's *18* and *Play.* *18* is not bad at all, but it doesn't make me drop everything and pay attention like *Play* does. [LATER] On the other hand, I couldn't shut it off, either. I carried my phone around until the last notes of "Pray Up, Stay Up" played. Maybe I liked it more than I initially thought.

Starts strong, and I found at least one or two songs that I probably wouldn't turn off if they came on. Otherwise, the album just didn't do much for me... though as depressed and negative as I was as a teenager, I'm sure I would have LOVED it then.

#10, and the second one that I own. The first half (ESPECIALLY "Fountain and Fairfax') is still more powerful than the second, but I'd also forgotten how much I like "My Curse" and the last song. Great listening to this again.

Not bad jangle-pop but nothing stood out for me. I wouldn't turn it off but I probably won't go out of my way to play it again, either.

Listening to this right after 16 Lovers Lane was a night and day contrast for me. I knew the name but I'd never much listened to anything of hers. I will fix that. This is music that sounds like it might get put on to relax or to have something playing in the background, but within a song or two, it takes over everything else.

I have trouble giving this four stars, since I'm Jewish and also not a fan of attention whores. But, I have to vote the music, and the music surprised me with how well-made and entertaining it was. He sings and composes pretty good for a man with his head up his ass.

I kind of liked the Flaming Lips before I bought this album in '99. I kind of liked their stuff after this. I love every single note of this album, and I think I still would even if it weren't drenched in nostalgia.

Oh man, where do I begin, besides that I really wish I'd heard this in the 00s. Bands like Sophe Lux and Dresden Dolls always struck me as "almost there," and not until today did I realize that THIS is what I'd been looking for. Five stars, easily. Also, I'm glad I listened to the EP first... I sought that out before listening to the album.

I'd heard their earlier stuff and didn't think much about it. This is pretty interesting, and I think it's going in my regular playlist.

I'd never sat and listened to this one before. I can't say it's my favorite Bowie album, but I like it better than some, and I can see where some of my favorite ones came from, now.

Grew up hearing the first record of this two-record set on the radio, but this was the first time I'd listened to the whole thing. I don't know if I'm going to go out of my way to listen to the second record again, but I will say that he and Taupin crafted some amazing songs for the back half of this set.

I have had this on cassette, special edition CD, and vinyl. It is tied for first place with *Meddle* for the title of "Favorite Pink Floyd Album." I will never be upset about the opportunity to listen to it again.

Reminds me of the baroque pop my Mom used to listen to in the mid-70s. I might have liked it a little more had the lyrics been like Scott's. Also, I can definitely hear the influence on bands I liked in the 90s like Divine Comedy and Pulp. ("Live Bed Show" would fit unnoticed on this album.)

I'd only heard *Trout Mask Replica* and I have to say, I wasn't a fan, so I was a little apprehensive going into this listen. I needn't have worried. THIS was great. I thought it was a fun slab of blues rock with just enough weirdness to make it stick. I might have to get this album myself.

I was living in San Francisco and going to a lot of East Bay shows (Berkeley Square RIP) when this came out, and, for better or worse, this record is a snapshot of what the scene was like. This is definitely closer to what club shows sounded like than two other bands that came out of that time period and region, Third Eye Blind and Train. I don't think I've listened to this from front to back since the late 90s, but it was a pleasant return. I preferred "The Mr. T Experience," but that's a story for another time.

Bruce Springsteen was always one of those artists that I could listen to in the background but never quite connected with. I'm not even sure I knew that this album existed, though I do remember him playing in the post-9/11 concerts. My review, though: it's not bad. I could see having it on once in a while, I suppose.

Well, apparently my Spanish is better than I thought… I could understand quite a bit of this, or at least get the gist of what he was saying. I’ve rated some other albums on this list, 2.5% of the way in, as “good background music.” This album starts that way but it’s insidious in how it works its way into the foreground. Also, the rapping on “Lágrimas de Oro” is insane.

Gorgeous, but I don't know if I can finish it. I made it through the first disc alright, but I had to stop during "Ghosteen." I'm going through a bit of depression myself, and hearing him sing about his son with such a heartbreaking voice is a little too much for me right now. I suppose that means it's definitely a great album.

I'm pretty sure I saw this movie back in the early 80s, but I've never sat down and listened to the soundtrack. I'd put this up on the same shelf as Marvin Gaye's *What's Goin' On.* They're both great explorations of the scene in the early 70s. Now that I think about it, they would probably make a great double album together.

I still think I like *Screaming for Vengeance* more, but that could also be because that was my first Judas Priest album. Also, that album might not exist without this one. "Living After Midnight" is still an awesome song, but, like Kiss's "Rock and Roll All Night," the album version sounds like a demo compared to how it's played live. Still a great album, though I'm wondering if I'll run into *Vengeance* later, as that's not only a fiercer album, it marked when they captured MTV.