Absolute crap. Some of the music/beats were good, but Ye can't sing, is a weak rapper, and is clearly a sociopath. I have no idea how he became popular. This is the crap that give rap a bad name

While not typically my style, I enjoyed this. Her voice was very good and the music wasn't the most simple 3-chord keyboard and cricket drums that are all over pop music these days. It won't likely be on my playlists, but I certainly wouldn't just turn it off like I would for most pop diva music.

Obviously, it's a classic album by a well-respected singer. It's just never been quite for me. Her soulful crooning is great and the harder rocking parts are good, but half the time the scratchy warbling throws me off. Bobby McGee is quite good. I've always thought Mercedes Benz was is a fun song, but honestly her voice grates on me and I never get more than halfway through it. The production is better than on her previous albums, but those rock a little harder, too. I do understand why people love her, but I never just think, "Hey! Let's play Janis Joplin."

I've only ever really heard the hits by them and never listened to a whole album. But even the non-single songs are pretty good. The guitars are really good and the rap vs singing call and response bits are unusually effective. Sometimes the longer bits of white boy rap falter and Chester does scream a bit too much. While I do like the singles and am ok with the others, I don't know that I'd just organically think, "Hey! I should listen to a Linkin Park album!"

Haven't listened to this album in over 20 years. Was surprised at how very mellow it really is. The first half is quite lowkey. It picks up by NIB, but I always recalled it being much heavier overall. Ozzy clearly doesn't have the best range or tone, but he was super Committed to the vibe. And that carries most of the songs. Let's be honest though, if this came out today, no record company would have given them an advance or a second album. Times have changed and it has to a banger and a seller or you are done. It's great to go back and listen to the originals as they worked to create heavy metal. The next two albums got chunkier and scarier quick.

Always wondered why the Ramones are so influential and memorable. I've heard some of their singles and they're... OK. 2 and 3 chord songs with good energy, but not really special. So I listened to this whole thing trying to keep my mind wide open, even trying to remember this was made 1976 and they were breaking ground for the punk movement. They do make a lot out of their simple song structures and the energy Is good. Admittedly way better than a lot of punks! But overall, it's too same-y throughout. tempo, energy, vocals, and the chuggy guitars all blend together. It almost sounds like one long song. If a song by them came on, I'd listen to it, I've even caught myself in the past singing "I wanna be sedated." But I sure wouldn't just decide to grab a Ramones album to listen to.

I find the Rolling Stones to be an odd band, in that every album has a single or two that are quite good, but the rest of the songs are mid at best and some are downright bad. Of course, it's hard to write consistently great songs for so long and you have to give them a lot of credit for having at least some hits on every album for 50 years. (Not in the last 10 or 20 as far as I know, though) This album is in their heyday and is always celebrated as groundbreaking. But almost all of the songs I find to be kind of same-y. Sure one's a little more country than blues, but it's still pretty close. The singles are good: Happy, Tumbling Dice, even Sweet Virginia. I'd listen if they came on. Perhaps these are the ones with a different producer?? Turd On The Run is horrible and Torn and Frayed grates on me. All of the rest are ok, like fine as background music or if I were at a bar and the band was playing these songs, it'd be fine, but I wouldn't throw money at them.

This is fun in small bursts. I've always like Frontier Psychiatrist. "You're crazy in the coconut!" But, like all purely sample based music, it gets too repetitive and annoying after just 2 songs. Can't imagine playing this album just to have a listen.

This was better than I expected as I thought they were just some indie punks or darlings that got a little attention then disappeared. But apparently they made more than a couple of albums and have somewhat of a following. I always appreciate it when people take chances and do experimental things as long as they keep some sort of melodic or memorable beat/riff/motif or something. Avant garde is good, but weird for the sake of weird is a usually waste. This is on that thin line for me. Most of it is listenable and interesting. Some cool bass bits and harmonizing. (But even that goes a little off-key sometimes.) "Ambulance" is annoying. It would be OK if the background people did a bit more, but it's just a horrendous roundabout that drives me bats. This is the most common problem on this album: they find a sound and just overdo it repeatedly. While a lot of it is fun or different, there's almost always one bit that is overdone. Most songs have a drone and it's OK when this is background music. But as an active listener, really looking for interesting bits and bobs, the drone somehow becomes more apparent and distracts. So, it's ok, but I don't think I'd ever just pull it up for a spin.

I was seriously doubting I'd like or even finish this album because of my previous listening to Pil. The "singles" they had put out were fairly atrocious and Johnny's voice is horrific. Sex Pistols at least gave a wall of sound and it kind of fit (for a song or two). I thought they only got albums made because of his notoriety and didn't give their musicianship much credence. So, with a finger hovering over the Next button, I got this album going. First song, Albatross, was pretty cool. Johnny's not screeching or yelling and the music is quite cool. A little atonal, but interesting. Overall, I like this album. Especially when Johnny is just talking or singing in a "normal" voice. It really sounds a lot like the early Bauhaus albums that came out about the same time; the musical style, tone, and metallic guitar. Of course, Peter Murphy is 10x the singer that Johnny is, but some of these songs sound quite similar. The best songs are the instrumentals like Socialist and Graveyard. Chant is unlistenable. I probably would have loved this if I'd heard it 30 years ago because it does fit into the post-punk, pre-goth, or industrial that came around then or right after. Perhaps some of those others were influenced by this, but I don't recall anyone saying that. It's not easy listening and I'm not sure when would be a good time to spin this up, but I added a few of the songs to my playlist and may even try a little more Pil now. I think it's a solid three, but will give it 4 because of it's historical and influential status

Truth to tell, I was not quite as annoyed as I thought I would be. Having only heard small bits of Bob's songs throughout my life, and a million people mocking his voice, I really thought I'd hate all of it. When I saw this come up as the album of the day, I was prepared to quit each song less than halfway through. But I got through the majority of them to leave a fair review. Perhaps since this is earlier in his career, his nasal twang is not as present as it is in some later recordings. Perhaps he leaned into it more later. I mean, it's not good or pleasant here, it just gets worse later. The big thing everyone says is that Bob is a poet. I mean... I guess. But they're so steamrolled by his weak singing and bad harmonica. He's no Charlie Musselwhite or John Popper. It come out blaring against the steady acoustic guitars. Many songs, like Blowing in the Wind and Masters of War, have some good imagery and turns of phrase. But I prefer the versions by other people. Even right now, I've gone back to play the songs to confirm the poetic nature, but can't listen through and just read the lyrics to say they're pretty good. I'll end with this. I appreciate the man's writing and the influence he's had, but I will never just put it on to have a listen.

Gotta admit my bias here. This type of music was one of my favorites at the time it came out, with me in my late teens and early 20s. And I liked Bon Jovi well enough, but nowhere near my favorite. I actually like the first Bon Jovi album more than this overall. The singles are probably better here, though. You Give Love A Bad Name & Livin' On A Prayer were always on the radio and played at parties and events everywhere. I still think Wanted Dead Or Alive is a great song from this time. Social Disease, on the other hand, is the poster child for everything people don't like about this sort of glam rock era. While I know it's not groundbreaking, influential music, my memories of it in the background of many great events make it a winner for me. I won't go seeking it, but when it pops up randomly I vibe with it happily enough.

It's ok. Kind of same-y throughout. Sounds like background music. First song reminded me of a tv theme maybe. I didn't really find anything annoying, but nothing stood out at all. Can't imagine a time anyone would say, "You know what we should listen to right now? Penguin Cafe!"

I liked this. Not dance music as some advertised it, but good chill-out music. Some cool bass lines. Don't love the ones with singing throughout, but they're not annoying. Just sort of take me out of the vibe. So Easy is good and my favorite was Röyksopp's Night Out. (Even though it is a tad bit jarring at the intro) I can imagine listening to this while working on something tedious to get me through OR just relaxing with some vibe-y music.

Never was a giant Pink Floyd fan, but respected that they broke ground and were definitely talented musicians. It was just a very rare thought for me to want to pull up a song or album by them. I wouldn't turn it off if it came and and I could vibe along with it but I rarely sought it out. Having said that, I have heard this full album a few times and think it's quite spectacular. I just wish I hadn't heard the "singles" so many times, so I could appreciate them all over again. While some folks deride Roger Waters' singing, it is just so fitting for this tale of a man sinking into madness. And David Gilmour is a damned treasure. He makes guitars cry and sing. It's amazing! Of course, some of the in-between songs are a bit weak because they're pushing the concept, but I'm only really bothered by The Trial. For those that dislike it because they're a bit confused by the structure/concept OR dislike the interstitial parts, you really should see the movie. It makes the whole story quite visible, understandable, and memorable. After that, in my mind anyway, this becomes the soundtrack to the movie (as opposed to the other way around, which it is) and it's far more enjoyable on the whole. I haven't seen it in some time and I'm not sure the animations will hold up to modern eyes, but it was amazingly well done for it's time. I don't imagine I'll listen to this whole album again... well, maybe once or twice. But some of the highlights will stick with me forever. It really is a piece of art.

It's really just OK with some forays into plain annoying. Cannot quite understand how this is groundbreaking, "seminal", and influential. Some of the songs sound a bit like 60's hippy-ish folk-laden tunes - Sunday Morning, All Tomorrow's Parties, I'll Be Your Mirror for example. "Heroin" is grating. The jangly guitars are good, but the drone in the background throughout annoys and whoever told Lou Reed he should be a singer was obviously riding the horse themselves. The end is a screechy mess. European Son is horrendous. I love a good instrumental jam... and even when folks go out on musical tangents and come back, kind of jazz-like. But this sounds like some children that picked up instruments with no training and just banged some shit out. Femme Fatal is well written and poorly sung. I've heard a few (apparent) covers of it, and it's a fine enough song. I actually had to doublecheck to see if these guys wrote it. I thought it was an older song. So, points for this one! Here's how I think this could be called influential - If I was 20 and I heard this, I might think, "If they can put this out there and make it big, then I sure as hell sure can!" Not influential as in, "One day I aspire to be that," but more like "Shit, I can do better than that, right now!"

Of course there's Zeppelin here. Widely recognized as groundbreakers and influencers, they're rock legends. Now, they've never really been one of my favorites even though I love rock, hard rock, metal, all of it. It's just that I wasn't there in their heyday when they were breaking ground. I was more excited by the 1st and 2nd generation bands that were influenced by them. These guys were older, radio staples and I thought they were OK. As I go older, I realized that they really were ground breaking and I can appreciate them more. Let's talk about this album in particular though. (It's so hard to listen to this with fresh ears because I've heard some of these songs like 1000 times on the radio.) Mostly, it's good. I wish the mix was better because everyone loves John Paul Jones' bass playing, but it's often lost in the mix. The rhythm section of him and Bonham is exceptional. Pocket Kings. Thank you and Ramble on, the least rocking of the songs, are the best of them somehow. While some folks blast Whole Lotta Love as noisy or indulgent, I think it's quite cool. They're doing things here that you weren't hearing anywhere else. And it's not noise for the sake of noise like that crap on the Velvet Underground album It's a classic and I won't turn the off if they come on the radio, but I also don't see myself firing it up to listen to the whole thing. Still giving it a 5 because of it's significance and even though it's not My favorite, I can sure understand why it is for a lot of people.

This was better than expected. I'd listened to some album by firehose before and thought it was just screechy, maybe punk-folk. This was much better. Production is better and the singer has rounded off some of the shriekier bits. Mike Watt is a great bass player, no doubt. This seems like what an REM and Meat Puppets collab might sound like in their early days. No album really Needs a drum solo, definitely not two!

I always found it to be the least interesting of the modern/middle-era Bowie albums. Still better than his first 2-3 though before he shook off the folksy thing. (Laughing Gnome, anyone?) Truth is I might have only listened to the whole thing 2 times then forgot about it. Listening to it twice in the previous 24 hours has made me rethink that! It's got a lot of fairly intricate musicianship going on, especially the pianos and synths. The regular band (Spiders!) are here and they added a jazzy/groovy keyboardist that really changed things up here. None of it really jumps out and hooks me in, but listening intently to almost all it, there are great bits to be heard. There really was no need to cover Let's spend the night together. I will definitely come back to listen to this again. I think it's a grower.

Chugga Chugga Chugga is what's written on a note in the Metallica exhibit at the Rock n Roll Hall of Fame. I do love some palm-muted chugga chugga, but not for an hour. As everyone says, the mix is really bad. Low bass with up front, mostly tinny drums. But that's not why you're really here, right? It's those chunky, thrashy guitars. Good on them for all of those insane quick changes, starts and stops. Those guitars rip it up. Just needs a little more change-up throughout. One is one of my favorite rock songs ever. It's got dynamics. ("Johnny got his Gun" is a great and horrible little movie.) Listening to this all at once, I give it a 2.5. Listening to a song or two at a time would let me give it a 3.5. Sot's getting a 3, but "One" gets a 5!

As a youth, I bucked against the Beatles. They were so popular but their music seemed so thin to me. (Because I never really listened to it deeply). Albums with songs like this were my main defense. Simple, peppy pop born from the early 60's leading to screaming throngs of young girls. Boo! As I grew older and more musically sophisticated, I was able to get to know them through later albums like Abbey Road, the white album, and Revolver. There is some wonderful music there! I could understand why people loved the Beatles. They were revolutionary and they did create new pathways for music to grow into. But I still never got into these first few albums. Listening today I can hear the kernel of genius filtered through the pop sensibilities and what was generally accepted at the time. While I can't really imagine popping this on for a listen, I'll at least give it the respect it's due. Without this, there never would have been those deeper, evolved albums.

I often lament the death of music, rock n roll in particular. Part of the complaint is that most popular music doesn't have a lot "real" instruments. Just a keyboard and a drum machine with some young diva yowling or some rapping. No bridges, no time changes. Blech! Oh, and a conversation from just a day or two ago about what concept albums are. Tricky to pull off, but when good, they can be great! (Operation Mindcrime, The Wall, Pink World and more.) Then along comes this pop diva that I had written off as the same old (new) thing because I'd only ever heard Tightrope and it falls into that blech territory. But this is actually quite interesting. All kids of musical instruments, all sort of genre hopping, and it's a concept album! Serious credit to this young lady for taking these chances. I don't know that she got as much credit for all of that. I certainly never heard anything about it. (I read a lot of music news and am always seeking new, good music.) While I do give her all that credit, it's still a bit out of my wheelhouse. I don't imagine I'd listen to it more than once or twice again. But for folks that are younger that have been raised on simple beats and cicada drums, this might get them to explore a bit. I want to give it 4 stars to attract attention to it and show respect for the gumption it took to do this in the modern music environment, I have to score it based on how much I liked it and would I listen again.