1001 Albums Summary

I was in my early 20s when this came out in 1996, which meant if it wasn't metal it was crap. I outgrew that attitude, thankfully, and grew to like some dance music, like Daft Punk, Justice, Royksopp and Robyn. Fatboy Slim's BLTC is good, and it has some tasty grooves, but as a whole, I doubt I'll listen to it again. Highlights for me were Song for Lindy, Going Out of My Head (the one song I'd heard before) and my fave song The Weekend Starts Here with a tasty sample of Black Sabbath's The Wizard.

Fleet Foxes popped onto the scene during the time roots music had its big moment with Arcade Fire and Mumford & Sons gaining huge popularity. So around the late-2000s-mid-2010s. Fleet Foxes had a nice little run as the little brothers of those two. My Morning Jacket kind of jump-started this trend about 10 years before it got huge, and frankly, MMJ does it better. This album is full of great harmonies and folk mixed with a dash of rock. As I’m listening back to it now, I’m finding it more enjoyable than yesterday’s listen. I enjoy this type of music, but I need to be in the right mood for it. The whole time I listened to this album yesterday, I thought, “I need to listen to more MMJ." Standout tracks for me on Fleet Foxes' self-titled debut are Sun It Rises, Ragged Woods, Tiger Mountain Peasant Song, He Doesn’t Know Why, with my favorite track being Your Protector.

I was never an Oasis guy when they first came out. I was a metalhead, so these guys were wusses. But I enjoyed this album. Definitely Maybe was Oasis’s debut album, so I had only heard one or two songs before my listen. But after listening to it twice, this will make it into my saved albums list. What struck me was, they reminded me of two bands I love, the Sex Pistols & the underrated hair/blues metal band, Junkyard. The similarities are all have a unique singer and the band plays simple rock ‘n’ roll, though Oasis has more bells and whistles. The standouts for me were Rock ‘n’ Roll Star, Up in the Sky, Digsy’s Diner and my fave was Cigarettes & Alcohol. Maybe I liked C&A because I’m a big Marc Bolan fan and the riff is straight Bolan.

Today’s album was one I’d heard a bunch, as I’m a huge Sabbath fan. Ir may be my favorite Sabbath album, tho they had a great run early on as their first 5 albums are classics. Vol. 4 was released in 1972, which blows my mind because it’s just so heavy. It was also the first album the band produced themselves. This was also one of the most drug-fueled albums they’d recorded at that point, see Snow Blind. All songs were credited to the band and bassist Geezer Butler wrote all the lyrics. The album was critically acclaimed when it was released. And there were no real singles released because A. Black Sabbath was not a singles band, 2. most Black Sabbath songs were too long for the radio and III. they scared mom and the kids. The most intriguing thing about this album, besides being great when everyone who made it was super-high on coke, is that at points it’s the heaviest ever and then you get a song like Changes, a slower, piano-driven ballad. Or you’ll get a very melodic bridge in the middle of Tomorrow’s Dream. The standouts on this album for me are….all of them. This is almost a perfect album. Even tho Sabbath had the same vibe on each record, this one has several curveballs, like Changes, the very weird FX and the amazing Laguna Sunrise. My personal fave is Snowblind. I’ve loved that song since the first time I heard it. It’s heavy and it’s about cocaine. Two things a young kid from the rural south is fascinated by. Black Sabbath Vol. 4 is a must listen in my opinion.

I never got into Neil Young; it’s the voice. But as I get older, I’ve softened on Young, especially after reading 1965: The Most Revolutionary Year in Music and listening to Crosby, Stills, Nash & Young while I read it. Everybody Knows This is Nowhere was supposed to be Young’s 2nd solo album. He borrowed 3 guys from another band that he was supposed to help record their album, but after recording and touring with those guys, Young decided the album would become his & Crazy Horse’s 1st album, rather than a solo album. And the band he "borrowed" his bandmates from was finished. This album is a classic to me just because of Cinnamon Girl. I'm sure you've heard it. It has one of the best guitar solos of all time. Everybody Knows This is Nowhere does have its misses with Round and Round and The Losing End, but the other 5 songs are bangers. Down By the River, about a man killing his gf for cheating, is badass, tho some might say problematic with the subject matter. But I can assure you, Young didn't actually kill his gf down by the river…I think. Other standouts are the title track & Cowgirl In the Sand. This album is filled with folky country and hard rock. It will go into my regular rotation.

David Bowie became the Thin White Duke during this time in his career, less fun than Ziggy Stardust, but still as sexy. This album is less rock n roll and more funk, disco, soul of the Young Americans album but with more electronica which was hot in Europe at that time. This album is a masterpiece in which at no time did I want to skip ahead to the next song. This album was created while Bowie was in the throes of cocaine addiction, so there goes the thought that nothing good ever came out of doing cocaine. The standout tracks are all of them, but especially the title track, TVC 15, about being high and seeing the TV eat your girlfriend, and I loved Wild as the Wind which is practically a straight love song, but I guess I was in the mood when I listened last night. Station to Station is the best album I’ve heard so far. You need to hear it to.

As a metalhead from way back, you might think I’d cringe at having to listen to Norah Jones. However, as I’ve aged, my palate has expanded, and there was a period when I listened to this album for weeks on end. In fact, I was obsessed with Norah Jones. Listening to this album now, I still really like it, but I’m not in love with it anymore. The songs are still good and Jones' voice is top-notch, but musically, many of the songs bored me. As I told someone yesterday, I'm more likely to be able to whistle you a guitar solo by heart than recite song lyrics. But the two big hits, Don’t Know Why and Come Away with Me still do it for me and are perfect. They still give me chills, and I wonder someday if Ms. Jones will be the future ex-Mrs. Bratcher. The rest of the album didn’t hit me like Bowie's Station to Station. Maybe that’s it, it’s hard to follow Bowie. However, if you’ve never heard this album before, it’s definitely worth a listen and maybe worth a few weeks’ obsession.

Two words: S**t sandwich. I can’t express how much I hated this album. Maybe because I’m an old man, but I believe I’d have hated it when it came out in the '90s. It’s a lot of samples, drum machine, and nonsense. If it’s your favorite album and you enjoy it, God bless you. As for me and mine, we say blech. And I like a bit of dance or electronic music. Maybe I needed to be in a rave on drugs to really get this album, but sitting in my chair trying to relax, it did the opposite. I started getting annoyed and anxious. I won't listen to this again and regret having done so this time.

This album came out in late 1993, but I was in love with metal, so it wasn’t on my radar. After listening to it 2-3 times, I should have gotten into the Wu-Tang because the beats are cool, simple, and they sound great. The rapping is very inventive and I think it’s better than anything people are doing today for the most part. Old Dirty Bastard just sounds completely different from anybody and Method Man and Ghostface Killah are legends. Hip-hop today seems too simple and uncreative from what little I hear. The skits aren’t that great, but most weren’t back then. Rappers were not comedians for a reason. The standouts are Bring Da Ruckus, Shame on a N,, C.R.E.A.M., Method Man, and my personal favorite Can It All Be So Simple. I’ll go back to this in the future.

Have you ever thought you knew exactly what you were getting into, only to be totally surprised by what you got into? That’s me with Simply Red. I thought I knew what the band’s album Picture Book was going to be: heavy synths, electronic drums with a new wave sound. Nope. Simply Red’s Picture Book is jazzy and soulful, with powerhouse vocals by lead singer/songwriter Mick Hucknall. The album has an 80’s production style, you know it when you hear it. Otherwise, this album could have been made in Memphis at Stax in 1966. As for standouts, for me, there’s really not a bad song on here. However, I loved Money’s Too Tight, Sad Old Red, and Holding Back the Years, which was the big single off this album. My favorite song on the album is probably Jericho, a Boz Scaggs-type jam. If you’re not a fan of a jazzy/soul sound, you might proceed with caution. I enjoyed this album & while it may not be something I listen to over and over, I will break it out on occasion.

I’d never heard this whole album before but I’ve heard the singles, including one of the best pure pop songs of that era, Malibu. This album came out after the death of Kurt Cobain & his ghost haunts a lot of the lyrics on this album, some sweet, some sad, others angry. As I listened to the music & read the lyrics, I kept thinking, we were pretty damn crappy to Courtney Love, a grieving widow with a child who had just lost her husband, but I digress. Celebrity Skin isn’t a perfect album, but for Hole and Love, it was their best work up to & beyond that point. It helped that 5 of the songs, including Malibu and Celebrity Skin, were written by the alt hitmaker Billy Corgan, & he’ll gladly tell you. One of the many unions of Love's that ended up playing out in the press. Beyond the Corgan songs, there are other highlights on the album and Love wrote all the lyrics, proving she can hold her own in that department. The album has a California theme and contains several songs about Hollywood and how it can chew up & spit out women looking for stardom. The standouts on the album are, of course, my personal fave, Malibu; Celebrity Skin; Awful; Reason to Be Beautiful; and Heaven Tonight. If you’ve never heard this album, it’s worth checking out just for Celebrity Skin & Malibu.

At first listen, T.Rex songs kind of sound the same, & are kind of simple, but there’s a lot packed into each song. Electric Warrior was T.Rex’s 2nd album & it essentially created Glam Rock in the 70s. Without Electric Warrior, we have no Ziggy Stardust, & most certainly no Sweet & Slade & all the other clones trying to capitalize on the T.Rex formula, rock riffs, androgenous fashion and just being rock gods. Electric Warrior is a mix of folk, hard rock and strings. This album also features a song that everyone has heard, "Bang a Gong (Get It On)". The rest of the album is based on a similar groove, the Marc Bolan groove, who was T.Rex. Bolan created this movement after several tries at becoming a rock god. The whole album is a standout, but Cosmic Dancer, Jeepster, Bang a Gong, Planet Queen are my faves. This is an album you for sure must listen to before you die. Plus it has one of the coolest album covers ever.

Tusk is Fleetwood Mac’s double album follow-up to their biggest album ever, Dreams, one of the best-selling albums of all time. When the Mac wrote & recorded Tusk, Lindsey Buckingham wanted something totally different from Dreams, & Lord, was it. Tusk showcases 3 songwriters across 20 songs, Christine McVie wrote 6, Stevie Nicks wrote 5 & Buckingham wrote 9 songs. McVie, who is extremely under-rated, wrote songs that could’ve worked on Dreams & Nicks too wrote songs that for the most part could have been on Dreams, but Buckingham was inspired by punk & new wave & his songs are so different from what Dreams was, it’s almost like he wasn’t even in the same band anymore. Buckingham’s songs were almost punk rockabilly mixed with the Beach Boys. You need a couple of listens to see what he was going for, while McVie’s songs brought you back down to earth, & Nicks was going to Nicks. The song Tusk is one of the weirdest songs ever. It’s nonsensical, it has a marching band playing in it, but it’s got that riff that keeps it locked into your brainpan for days. Standout tracks are Over & Over, That’s All for Everyone, That’s Enough for Me, Beautiful Child, Tusk, & my favorite track, Sara, Sara is about Nicks’s doomed relationships with Mick Fleetwood, Don Henley & a terminated pregnancy. Not a fun song lyrically, but it’s beautiful. While I can see why this album only sold like 4 million compared to Dreams' 10 million & it could have some of the fat trimmed down to an incredible 10-12 track album, Tusk is definitely a great album on its own merit.

Shuggie Otis produced & pretty much played all instruments on Inspiration Information. He was also one of the 1st musicians to use analog drum machines. Pitchfork described the album as "smooth, organ-driven California funk, quasi-new age psychedelia, loungey jazz instrumentals, [and] string interludes—all propelled by the same kind of analog drum machine.” That fits perfectly. It was the last album for a contract with Electra Records, & they dropped Otis after it went nowhere commercially.. You can understand why after listening. The world probably wasn’t ready for Otis’s take on his style of r&b. The album is weird, for what you expect, with the last 4 songs being short instrumentals. The album probably inspired artists to push boundaries using new technology. The first 5 songs are really good with the title track, Island Letter & Sparkle City being my favorites. Not sure the album will enter my rotation, but a few songs will. Must listen for R&B nerds.

Album #15 of my 1,001 Albums You Must Hear Before You Die list Jah Wobble's Invaders of the Heart - Rising Above Bedlam At some point, many white musicians got into world music around the same time. Paul Simon, Peter Gabriel, David Byrne, etc. Jah Wobble, or John Wardle, got into it as well forming the Invaders of the Heart. The group released Rising Above Bedlam in 1991. I’d never heard of the band or the album. I just never got into world music, though Simon’s Graceland is a great album. It appears Jah Wobble & the Invaders of the Heart put out one good album & Rising Above Bedlam was it. And it’s fine. I probably won't ever listen to it again, but it has nice rhythms throughout, but this ain’t me, babe. Sinead O’Conner even pop up on the 1st track. Trouser Press, whoever they are, called Rising Above Bedlam, “a refreshing departure from some of the flat, occasionally tedious & self-conscious material [Wobble] lobbed out in the '80s." So, that explains Wobble &the Invaders. Nothing stood out to me on this album, but Visions of You features O’Connor & it was very nostalgic to hear her. Maybe I'm just being stubborn & not opening my mind enough, but I'm ready for my next album

I wasn’t a fan of the Brit Pop thing back in the day. I was still stuck in my narrow-minded metal or die mode. Tho I was beginning to grow a bit. By the time Blur’s self-titled album had come out, they’d already been to the mountain top & were on the way down. So, they changed their style and became less Brit Pop and more U.S. Indie Rock. You can also hear that this Blur album is the precursor to what the Gorillaz would be in the future, as Blur’s lead singer Damon Albarn would form that band about 15 years after this album. I can see why Blur caused such a sensation. This album is very good. Song 2, or the Woo-Hoo song, is brilliant nonesense & On Your Own is built around a great riff, but is a bit annoying, which you need in rock ‘n’ roll sometimes. I loved Song 2, of course, Beetlebum, Death of a Party and You’re So Great. I highly recommend listening to this album.

Album #17 of my 1,001 Albums You Must Hear Before You Die list Faith No More - The Real Thing Not only have I heard this album before, I bought the CD after seeing the vidoe for Epic on MTV about 1,000 times. That song was a phenomenon. FNM sold 4 million albums worldwide & without that song, I’m not sure it would have gotten to 1 million. Singer Mike Patton just joined the band & he was the catalyst it seemed. FNM is weird, just looking at the band members, they didn’t look like they matched and the songs were eclectic, though mostly metal/hard rock based. Patton liked to rap a bit, but it only occurs in 2 of the 13 songs on the album. There seems to be a running theme throughout the album & that is vampirism/death, which can be the same thing, I guess. Supposedly, 3 of the songs were overtly about murder & Patton was asked to be a bit more subtle with the lyrics. At the time I bought this CD I was 15 or 16, and I didn’t get it immediately. It was too eclectic for my developing brain, I guess. But as I revisit it, this really is a fun and unique album. The highlights for me are Epic, Surprise! You’re Dead, Zombie Eaters (babies are the zombies in this case), Underwater Love (about drowning a lover), and Woodpecker From Mars. If you’ve never heard this album and love metal or weird music, this is a must listen.

I was looking forward to listening to this, but then I heard the first record scratch and sample, & it gave me the nu metal cringe immediately. Then all the song lyrics were about killing or self-harm or I don't care what you think, but stop being so judgey. Slipknot has two percussionists & one of them plays garbage cans or scrap metal. In some cases, I heard the snare drum from Metallica’s St. Anger pop up & I didn’t like that. I didn’t get into Slipknot when this came out in 1999 & nothing has changed, it seems. I liked Wait and Bleed & that’s about it. The other single, Spit It Out, sounded like a heavy 311 song to me in the chorus. For really angry people, which at this point is most of the country and fans of record scratching in their metal, this album is for you, but as for me, I’m sticking with old metal, not nu metal.

I remember the Meat Puppets from their 1994 semi-hit Backwater & for Kurt Cobain expressing his love for the band. Listening to II, it’s easy to see how Cobain’s vocal styling was influenced by Curt Kirkwood's singing. Kirkwood’s singing is not good, at least for my taste, but there are times you would swear it was Cobain singing. II is weird. The first MP’s album was a noisy hardcore punk, but for II the MP’s invented something called “cow punk.” Cow Punk is essentially punk country music. It’s hard to explain, but I like it, except that the vocals are terrible. While I was surprised by how much I liked the album, tho not Kirkwood’s vocals. The instrumentals are great. Highlights for me are Aurora Borealis, & I’m a Mindless Idiot. The Whistling Song & Lake of Fire are 2 good songs with vocals. Lake of Fire’s vocals especially sound like Cobain; in fact, the Meat Puppets joined Cobain on the Nirvana Unplugged show to sing 3 MP songs, including Lake of Fire. For history’s sake, it’s worth a listen, but for me, that’s about it.

Fats Domino is “the real king of rock ‘n’ roll” according to Elvis, who was heavily influenced by Domino. The Beatles, too, were heavily influenced by Domino. This Is Fats Domino was his third album & it includes his biggest hit, the song most everybody has heard: Blueberry Hill. Elvis, Led Zeppelin and the Beatles all covered Blueberry Hill. Blue Monday is also on this album & probably my favorite Domino song. Domino has a distinct style of rock 'n'' roll, driven by the piano, as he was a piano player. The electric guitar as a lead instrument in rock 'n' roll would come later with Chuck Berry. The songs are all a bit similar due to Domino’s piano playing, but every song is just pure rock ‘n’ roll. Domino is like AC/DC in that, you know what you’re getting when you put on one of their albums. You can hear how Domino’s music inspired early Beatles, Led Zep & others to create their own style. For someone who wants to see where rock ‘n’ roll came from and hear one of its main architects, This Is Fats Domino is a great album to check out.

I got into punk rock in my adult years, the Ramones, the Sex Pistols, & a smattering of the Misfits. But never the Clash. Though most of the Clash songs I heard didn’t remind me of punk, like Train In Vain & Rock the Casbah. However, their debut album, The Clash, is "typical" punk for the most part. The songs are short, fast, & full of angry lyrics, tho not all are. Protex Blue is about a condom. I was surprised at how good this album sounded, sonically. Lots of punk albums sound like the bands cranked out the songs in a few hours & then were off to the pub. I loved this album & it's my favorite of the 20 I’ve listened to from the 1,001 list. My fave tracks are White Riot, I’m so Bored with the USA, and London’s Burning. There isn't a bad cut on this album. You definitely must hear this before the end of the week.

I must admit, I wasn’t looking for to listening to this album. I’m not a huge fan of 60s psychedelic with the sitars, harpsichords & just nonsense fueled by LSD. However, I loved this album. First off, it’s mostly acoustic folk music with orchestral highlights. There's very little electric guitar on the album. There are great horn parts, though. It’s kind of a cross between the 60’s psychedelic and folk music mixed with Burt Bacharach. The music is very soft, which I generally don’t care for, but this album is kind of like ASMR. It’s soothing, but the lyrics are about death, freedom, and how the counterculture at the time was not all flowers and peace. If you’re a fan of the music coming out in the '60s, this is the album for you. I’ll be putting it in my rotation.

I don’t know if you’re like me, but there are times when I hear a piece of music & it will almost, or actually, bring me to tears. Not sure why, but it's happened to me quite often while listening to the album. This album has 59 of the greatest songs ever written. You could talk me into saying this is the greatest album ever. I loved it and had so much fun listening to it. It made me happy all day...until my day kind of fell apart. The music is played by a jazz orchestra, with some of the songs being updated from the 1920s-1930s when they were written to better fit the 1960s. My fave tracks are all of them, but I love But Not for Me, Just Another Rhumba, ‘S Wonderful, & Someone To Watch Over Me. That song always gets me. Give this a try and see if it doesn’t tickle you right where you need it.

Album #23 of my 1,001 Albums You Must Hear Before You Die list Kacey Musgraves - Golden Hour This album isn’t a new one for me, as I listened to it for about 3 months straight when it came out. I had already been a fan of Musgraves, but this album probably tripled her fanbase, if not more. It’s a very sleek blend of country-pop. The kind of sound country music radio loves these days, except Musgraves is a woman & isn’t talking about getting her teenage queen liquored up in the bed of her pickup. I’m not sure how the song Rainbow wasn’t a huge smash crossover hit, & maybe it was, but it should have also won all the awards because it’s just beautiful. Space Cowboy & High Horse are also great jams. Even if you don’t like country music, you’ll dig this.

I never got into the Britpop scene, but after listening to this album and Oasis’ debut album, I’m thinking I missed some good music. I wasn’t looking forward to hearing this album after a long day, but I was surprised at how good it was. I have no idea why it didn’t make a bigger splash. I even enjoy Richard Ashcroft’s singing more than Liam Gallagher's in a way, though Gallagher has a more unique voice. It seems once Oasis blew up, The Verve was next, but it didn’t happen. One reason might be that it seemed the singer, Ashcroft, & the guitarist, Nick McCabe, started to hate each other. McCabe seemed to be the more serious member of the group & others liked the fringe benefits of rock ‘n’ roll more. The Verve broke up after making this album, reformed without McCabe & made 1 album, then was kaput. This album is enjoyable, but it’s loud. I’m no producer, but something they did during production makes the music become grating after a while & you have to turn it off to give your ears a rest. With that said. I really liked this album & will listen to it in the future. Best songs for me are A New Decade, This Is Music, A Northern Soul, and History. If you’ve never messed with Britpop before, this album is a good one to hear.

Sometimes, this thing I’m doing seems like a pain in the arse, but if I didn’t embark on this journey, I’d probably have never heard incredible albums like this one. It’s just so brilliant. Ry Cooder and others were going to Cuba to record 2 high-profile African musicians with Cuban musicians. The 2 Africans couldn’t get into the country, Cooder & others decided to record an album of Cuban music, which is a mix of African & Spanish music. The album is beautiful & will get you wiggling in your chair. Lots of flamenco-style guitars and syncopated beats. The songs are old standards of sones, guajiras & boleros, which means nothing to me. All I know is it’s incredible stuff. Highlights are Chan Chan, Veinte Anos, Candela and Orgullecida, which sounds like it could have been a Bob Wills country song from the 1930s. I think everyone should check this out, if for nothing else than to broaden their mind.

This is an album I’m very familiar with, as I had a bit of a Stevie Wonder obsession not too long ago. FFF may not be his greatest album, but for anyone else, it would be. FFF came near the end of a 5-album run untouched by any other artist. This album should be on the list just for Boogie on Reggae Woman and You Haven’t Done Nothin,’ with the latter being aimed at Richard Nixon. The rest of the songs are more personal, with several being about Wonder’s relationship with God. They Won’t Go When I Go is a haunting song about how Wonder will leave this earth and go to heaven, while those who aren’t right with God will be taking a short trip to hell. Mostly, the album is about love and no one writes love songs like Stevie. This album is a must listen.

Nirvana's Nevermind gets all the praise for being arguably the greatest grunge album ever. I hate that buzzword grunge. All of those bands at that time weren't playing the same music like boy bands or hair metal, but we've got to classify it somehow. I digress. Pearl Jam's Ten is probably the best grunge album at least the best debut album of that period of time. Each song has meaning and weight. The songs still hold up today as Alive, Evenflow & Jeremy sound just as fresh and vital as when they first came out. It’s hard to believe that 99% of people haven't already heard this album but for those who haven't, it's a must listen.

Most of the lyrics to the songs on Electric seem like a word jumble, while some are kind of elementary. I think that’s what the Cult wanted to do. After being more of an alt-goth rock band, they went to Rick Rubin & asked him to make them sound more like hair metal that was popular at the time. Instead, Rubin asked, “Do you guys like AC/DC?” & they were off to the races. Electric is about the riffs, while the charisma of lead singer Ian Astbury helps sell the sometimes goofy lyrics. Pair Astbury with the riff machine Billy Duffy & you have a recipe for rock success. There isn't a bad song on the album, except for maybe their cover Born To Be Wild, which is not the Cult’s fault; I just hate that song. Wild Flower rules. Peace Dog is an anti-war song, I think. Love Removal Machine is a great title for a great song. This album just rocks hard. If you’ve never heard the Cult, this album is a good place to start. Then you’ll be converted.

Album #30 of my 1,001 Albums You Must Hear Before You Die List Simon and Garfunkel - Parsley, Sage, Rosemary And Thyme I’ve dabbled in Simon & Garfunkel before, though not this album. It’s loaded with songs that filled me with melancholy, as in, the songs kind of depressed me. It’s not just this album, but a lot of folk music kind of depresses me. No idea why. There are some upbeat moments like A Simple Desultory Phillipic, in which Paul Simon does pretty good impression of Bob Dylan. But otherwise, it's a lot of acoustic guitar & heartbreak. The Big Bright Green Pleasure Machine is a hoot. The album is a masterpiece & I find myself listening to it over & over. Many of the songs or their arrangements make them feel like they were sung in the woods by knights who are drinking grog in a tavern in the forest on their way to slay a dragon. The fancy way of saying that is baroque. The album is really short, which is commendable. All the songs are great, & you are likely to have heard Homeward Bound. If you want a taste of why S&G were such a huge influence on folk and music in general, this is a great album to listen to.

This album I know well, not because I listened to it over & over as a kid, but most of these songs are mainstream now, War Pigs, Iron Man, Paranoid. It seems like your grandma knows about Black Sabbath & the late Ozzy Osborne. This was Sabbath’s 2nd album & it’s the one that really broke them. Paranoid was a hit single for the group. That had to really broaden their audience, which led to the right people finding this music, which led to the best metal bands being birthed. It’s amazing how things come together & work perfectly. Tony Iommi with the riffs, Ozzy with the melodies, Geezer Butler with the lyrics, and Bill Ward with a jazzy drum style that really kept the group tight. This isn’t my favorite Sabbath album, probably because I’m still an a-hole at heart, but it’s a must-listen masterpiece. Hand of Doom and Faeries Wear Boots are my faves off this album. Mostly because they are heard less than the hits. Electric Funeral just sounds evil, so it's great as well. Paranoid is a masterpiece & you can hear where heavy metal came from after one listen.

I keep seeing these news stories about how the population is shrinking because younger folks aren’t interested in getting married and having babies. I have the solution, Reverend Al Green’s Let’s Stay Together. I imagine Reverend Green is already responsible for millions of births throughout the world, & I’m damn certain he’s the answer to our current issue plaguing society. I have no desire for children, but when listening to this album, I find myself perusing Facebook for a suitable future ex-Mrs. Lee Bratcher. You’ve probably heard a lot of the songs on this album, but it won’t keep you from wanting to hear them over & over again. Stop what you’re doing, find yourself a sweetheart, put on this album & help the human race survive. If you don't have a sweetheart, this album is still incredible; you just won't be cutting an umbilical cord in 9 months.

I’m a huge fan of Aerosmith from way back. As in, I know their career didn’t begin in 1987 with their Permanent Vacation album. While Aerosmith did good work from 1987 & on, they became legends with their 1st 4 albums, with Rocks being the last in that run. Rocks' creation was fueled by cocaine & heroin, which makes it amazing it was so damn good. Rocks begins with Back In the Saddle, arguably, their best song & each song from there is a banger, ending with my favorite Aerosmith ballad, Home Tonight. The album also contains the best lyric Joe Perry ever wrote, according to Steven Tyler. In the song Combination, which was written by Perry about the combo of heroin, cocaine & him, Perry wrote, "Walkin' on Gucci, wearing Yves St. Laurent Barely stay on 'cause I'm so goddamn gaunt.” Kurt Cobain named Rocks as one of the most influential albums in his and Nirvana’s career. Guns ‘N’ Roses, Metallica & Motley Crue all list Rocks as having a huge influence on their careers. Do yourself a favor, & check out Rocks.

The thing that bugged me about dance/electronic music from the '90s was that many songs were one verse of singing taken from another song that was played over & over throughout the "new" song. I can’t even understand the sample in most cases & the song gets annoying or boring. Moby was 2 for 2 in annoying me from the start of the album, then we get Porcelain, which was pretty good. As I continued to listen, it hit me, this is montage music for shows like House, or Bones, or other one-name TV shows, maybe Suits, yeah, Suits would work too. I couldn’t sit around & enjoy this music, but, good on you if you can. Oh crap! South Side, a song I’ve heard. It’s also a song that sounds like a real song, with Mody singing. I can get into this, but most of the songs seem to be made by AI for AI. As I moved further through the album, a lot of it sounded like it was made with GarageBand and used as royalty-free music for podcasts. I’m an old guy who is set in my ways. This stuff isn’t for me; I won’t be giving this a second listening.

I don’t believe I’ve ever heard an Elliott Smith song, at least not one that I recognized as his. I did remember that he died tragically, either by his own hand or at the hands of his girlfriend. I really wasn’t in the singer/songwriter mood yesterday, but by track 3, Ballad of Big Nothing, I was in. Smith’s album is full of great harmonies & beautiful, though at times, dark lyrics. The music took me right back to the 1990s, for better or worse. Apparently, this album was a bit of a change from Smith’s previous 2 albums, with Either Or having more of a pop feel to it. Whatever Smith did, it worked. It’s a brilliant album. My fave tracks are Pictures of Me, No Name No. 5 and Cupid's Trick.

Album #36 of my 1,001 Albums You Must Hear Before You Die List The Kinks - Face To Face I love the Kinks, they rocked hard, were obnoxious & wrote songs that poked at certain muckety-mucks in society. The album Face to Face was a change from the You Really Got Me days. The songs were a little smarter, though still poppy, with a more baroque style. The Kinks never really broke big in the US, mostly due to being banned due to their all-around crappy behavior. Had they been able to tour here, I believe they’d be in the same stratosphere as the Rolling Stones & the Beatles. According to Kinks historians, this is the album that kicked off their golden age & was also the 1st, or 1 of the 1st, concept albums in rock music. The highlights for me are Party Line, Dandy, Session Man, You're Looking Fine & the hit, Sunny Afternoon. This album is phenomenal & would be a great introduction for someone who wanted to explore the Kinks.

I’ll readily admit I’m not the biggest Eric Clapton fan. I think he was god before he became more of a solo singer/songwriter. However, Derek and the Dominoes’ Layla and Other Assorted Love Songs contains no filler & may be the perfect album. I heard the album before, but it was many years ago & probably just once or twice. After listening to it a couple of times over the last day, it blew me away. Clapton is brilliant on this album & I think it's because he had Duane Allman, an alien, pushing him on to greatness. When Clapton is cutting heads with other great guitarists, he always pushes himself. When he’s by himself, he doesn’t seem to have the same fire, in my opinion. If Allman isn't the MVP of this album, then the late Bobby Whitlock is. I’m certain this album wouldn’t be the same without Whitlock's singing & writing. Whitlock is so soulful in his backing vocals and the songs he sang. I can’t pick a favorite song. They’re all good. As I listened, I just kept thinking, “All these songs are so good, one right after the other.” I think this is a masterpiece and probably Clapton’s last great album.

I’m not a big punk guy, but I know what I like. I listened to this album during work & nothing really stuck out to me. It all sounded the same & the singer, while definitely unique, didn’t appeal to me in the least. After listening a second time, with the lyrics & background from Wikipedia, I became a fan. The reason this is in the 1,001 Albums You Must Hear is that the Dead Kennedys are essentially our Sex Pistols, though DK arguably has the better musicians. DK can also match or even better the Pistols with lyrics. Jello Biafra, the lead singer & songwriter of most of the songs, was very into the national & world issues of the day. You can tell from the first song, which is called Kill the Poor. As in, drop a bomb on the poor & clear out real estate that the rich can buy & use. The songs are satirical & hilarious, but Biafra still makes his point. Other songs on the album are, Let’s Lynch the Landlord, I Kill Children, Stealing People’s Mail, Ill in the Head, and their biggest “hit,” Holiday in Cambodia. It’s amazing, or sad, how we seem to have the same issues today that Biafra was writing about in 1980. I think this album is worth checking out for historical purposes & the lyrics of the songs, but it’s not my kind of punk.

I’d heard of the Stranglers & thought they were a punk band, but I never heard them before. Upon hearing the first 30 seconds of Ratticus Norvegious, I realized they weren’t just another punk band. The Stranglers were described by 1 critic as “hardcore pop.” I thought they sounded like the Cars, though not as slick. Not that the Cars ripped them off, but the Stranglers are the perfect melding of punk, new wave & rock with grimy lyrics about the London streets. In addition, this is another “punk” band in which the musicianship is excellent. Jean-Jacques Burnel’s bass is the instrument that holds everything together. The bassline for the song Peaches is iconic. Keyboardist Dave Greenfield’s playing gives the music a ’60s vibe, which I usually hate, but I thought it really elevated the songs. While listening, I couldn’t help but think these songs would work today. I imagine the Stranglers inspired copycat bands that evolved into what became new wave in the '80s. Do yourself a favor & listen to this album just once and you’ll see the Stranglers aren’t just another punk band. This is going in my playlist for further listening.

I was deep into nu metal when this album came out, I know, I regret it too. So, I was excited to listen to this & it started off great, but after about 10 songs, for me, the album ran out of steam. This is a Motown album, but it ain’t your dadd…or your great-grandaddy’s Motown. The musicianship was incredible. Around 2000, Questlove & others started the neo-soul movement & Badu was the high priestess. At least, according to what Wikipedia told me. I enjoyed the album for what it was, but in the end, it was too long & I got bored in the middle. I think the more boring songs were less neo-soul & more samples of other songs. Penitentiary Philosophy is going into my favorite songs playlist, but that’s about it. However, this is prime baby-making music if you want to add to or start a family.

Like most music of the '90s & '00s, I was a young idiot who only really listened to heavy metal, so I missed out on Radiohead. I knew the Creep song & a few others, but never bought one of their albums. CDs cost money & all music wasn't available for pennies like today. After listening to OK Computer, I realize I should have just bought this album because it’s brilliant. There’s not a bad song on it & it still sounds fresh today, though with a 90s sheen. From the beginning, the whole album sounded like the soundtrack to a movie that hasn't been made. You can tell the band really wanted to be artists & not just the Creep band. '90s Radiohead is like the experimental band whose music works & sounds great, instead of being mindless trash. I can’t wait to dive further into their catalog.

I was very unfamiliar with The Modern Lovers, though I recognized their biggest “hit,” Roadrunner. The reason I was unfamiliar is that the group broke up before their first album came out. The songs were recorded in 1971 & 1972, but the album debuted in 1976. Their history & influence on music afterwards are fascinating. If you’re a fan of the NeW York punk scene & 80’s new wave, then this may be the album for you. However, I just plain didn’t like it. The Modern Lovers were influenced by The Velvet Underground, another band I can’t get into. The songs have a Velvet Underground sound, but also a bit of 60s psychedelic with the keyboards. It’s easy to see how The Modern Lovers influenced rock in the 80s; in fact, keyboardist Jerry Harrison later went on to play for the Talking Heads, & drummer David Robinson went on to play drums with The Cars. Those bands were just two of the many bands influenced by The Modern Lovers. I hate being an old man about music that came out before I was born, but the songs are kind of simple & the lyrics are very teen angsty. Founder/lead singer/songwriter, Jonathan Richman isn’t a good singer. He sounds like he’s half asleep when singing, which is more like talking. The lyrics are weird, he has a song about trying to snake a girl from a hippie, & his main argument is that he doesn’t get high & her bf is always stoned. Another song is about his love for the 50s & how he'd rather things stayed the same, which is weird for a rock band in the 70s, especially a proto-punk band. Other songs are about how he can’t pick up chicks. Maybe it’s satire I’m not getting. I will not listen to this again, I don’t think, but I appreciate the band’s influence on music in the '70s & '80s. It's at least worth a listen for music history's sake.

If the Modern Lovers album shaped music history in the '70s & '80s punk and new wave crowd, then Booker T. and the MGs shaped all of rock music before that & still today. They were the house band for Stax Records, out of Memphis, which, for my money, was the best soul label in the '60s. In fact, this album was the first issued by Stax Records. It’s all instrumentals, and you’ve likely heard at least one song, if not several, from this album. The album features several cover versions of well-known songs, like Ray Charles’s I Got a Woman, Twist and Shout and One Who Really Loves You originally sung by Mary Wells. However, the most well-known song is "Green Onions," which can be heard in 1 out of every 10 movies, TV shows & commercials. This is the song that screams early '60s rock. The familiar organ riff by Booker T. has to be one of the best-known riffs ever. This is the epitome of party records. You just turn it on, hit repeat & you never have to worry about the music the rest of the night. This is an album that will be listened to forever.

I’ve always been a Rolling Stones guy, but I appreciate what the Beatles did for modern rock music and recognize they are the best band ever. They are the band that paved the way for all subsequent bands. Near the end of their run, George Harrison had a breakthrough in songwriting and began writing great songs, though sometimes John Lennon and Paul McCartney couldn’t see it. The Beatles' loss was Harrison's gain as his solo debut triple album is a masterpiece. I’d heard several songs off All Things Must Pass, but never sat down and listened to it straight through. What an idiot I am. The album is a crusher, even the instrumental jams included as just filler were incredible. Of course, any music made with Derek and the Dominos and the Stones' horn section, plus other rock legends as your backing band, is going to be incredible. For my money, All Things Must Pass is the best solo work of the Beatles’ members. Lennon’s output was hit and miss and McCartney’s best solo work was with Wings. Ringo, generally the joke of the band, has done quite well for himself with his solo career, but can't touch the other members. Though he is still underrated as a drummer. If you’ve never listened to any of Harrison’s solo work, this album has it all: country music, solid old school 50’s rock, hymns, love songs and all-star rock jams with the likes of Eric Clapton. Speaking of Clapton, I’m guessing that during the recording of All Things Must Pass, Clapton was falling in love with Harrison’s wife and Clapton’s future wife, Pattie Boyd. That’s wild, isn't it? Clapton was so infatuated with Boyd, he even dated her sister. The whole episode could inspire a book, which Boyd wrote in 2008. She must have been an incredible muse. Anyway, beyond the gossip being incredible, All Things Must Pass is for sure one of the greatest albums ever, and you should do yourself a favor and bask in its glory.

Everybody knows The Temptations, you know, My Girl, Ain’t Too Proud To Beg, The Way You Do the Things You Do, but in 1968, radical changes were happening. First, David Ruffin, one of the main voices of the group, was fired for missing shows and regularly powdering his nose. He was replaced by Dennis Edwards. Another radical change was that Sly & the Family Stone was changing R&B/soul music, making it more psychedelic and funkier. Otis Williams, the de facto leader of the Temptations, talked Motown into letting them try a more psychedelic sound and spreading the vocals around a bit. The result was Cloud 9, which was a hit and won the singing group a Grammy. I like the Temptations, both the more pure Motown R&B pop sound, but I really liked the 70s psychedelic Temptations. Cloud 9 had examples of both sounds, with the songs Cloud 9 and Runaway Child, Running Wild being more psychedelic and the lyrics having more of a social bent and not just about wooing a pretty girl. I listened to this album three times and I really liked it, but did I think it was a great album that needed to be on the 1,001 list? Not really. Maybe it’s on the list more for history’s sake. But, as a preview of what the Temptations later became with a look back at what they were, it’s a fun listen. Maybe after All Things Pass, anything I listened to would fall flat. For R&B/soul fans, you’ll like this album, but it’s not one you have to hear before you die.

I’m out of my element when it comes to trip hop, especially British trip hop, but I'd heard of Tricky. I remember reading about him in Rolling Stone and SPIN magazine back in the day. I miss magazines. Anyway, after listening to Maxinquaye, I realized I’d heard a couple of songs off the album, though I’m sure I had no idea it was Tricky. Maybe I heard them in shows or as background music to ads. I didn’t hate the album, but maybe I didn’t get the album? It’s better than Roni Size, but again, a squawking crows choir is better than Roni Size. I can appreciate much of the album, but sometimes the songs do sound like the same thing over and over. However, as far as putting it on for background music, I think it works. It’s got a slow, chill groove, and you can really get some work done when it’s on in the background. But you can check that out for yourself. As for me, I’ve had enough.

Among the Living is an album I've known since it debuted, though it took a few years before I actually listened to the whole album. It's Anthrax's breakthrough album that solidified them as a member of the Big 4 of thrash metal, joining Metallica, Megadeth and Slayer. The big difference between Anthrax and the other 3 bands is that Anthrax was from New Your City and had an actual singer, who had more old school New Wave of Heavy Metal vocals instead of screaming and yelling. But Anthrax was just as heavy and had chunky riffs. Among the Living holds up today as it's so heavy, and filled with lyrics about societal issues, featuring an anti-war song about the massacre of Native Americans and an anti-drug song, called N.F.L. I think this album can appeal to everybody in some way or another. While I won't say it's a perfect album, I do find myself returning to it about every year for a listen or two. For metal fans, if you've never heard this album, it's a must. They also may have been the first metal band to get into rap music at the time, as Anthrax recorded I'm the Man during these sessions, a rap song that became a pretty big cult classic.

It’s pretty cool to get George Harrison’s All Things Must Pass, which was incredible, and then Paul McCartney and Wings’ Band on the Run just days later. It gives you a chance to listen and compare solo work from two members of the best rock and roll band ever. I thought Harrison’s All Things Must Pass clearly showed he had the best solo stuff of the Beatles, but when you listen to Band on the Run, you might rethink that just a bit. Band on the Run wasn't as epic as All Things Must Pass, but it’s a damn great album. I’d listened to it in the past, but not more than a few times. Again, I was a metalhead for half of my life before realizing there are other kinds of cool music. Band on the Run has great songs, but unlike All Things Must Pass, some of the song lyrics are just words that sound good together. McCartney was someone who could write a song with placeholder lyrics and then decide those lyrics were good enough. For instance, Jet is a song about McCartney marrying Linda McCartney and how her father wasn’t a big fan. The title comes from the name of a dog McCartney had, and the song appears to be sung to Jet the dog. At one point, McCartney sings, “And Jet, I thought the major was a little lady suffragette.” McCartney said he just liked the sound of the word suffragette and put it in the song. I’m not saying silly lyrics are bad, because they aren’t. I’m not much of a lyric guy anyway; I like a song more for its groove. I’m just saying that Harrison had maybe the more thoughtful lyrics. However, McCartmey’s songs are so good, you don’t even care. Much like All Things Must Pass, Band on the Run doesn’t have a bad song on it. In fact, when the album came out in 1973, the U.S. version had an added song, Helen Wheels, missing from the U.K. version. Helen Wheels itself is a banger. As for which had the Beatles' solo work, I still give Harrison the edge, at least in quality. McCartney has the others beat on quantity. Band on the Run is an incredible album and probably his greatest work beyond the Beatles.

I love the name of this band, The Flying Burrito Brothers, and their debut The Gilded Palace of Sin is a pretty incredible album as it was a big influence on rock and country music in the 70’s and beyond. The FBB was formed by Gram Parsons and Chris Hillman. Both were former members of The Byrds, another influential band in the same kind of genre, though the Byrds leaned more toward pop music than the FBB. Parsons was more the mastermind of the debut album. He wanted to bring the Bakersfield sound, made famous by country legend Buck Owens, into the psychedelic 60’s. At the time, I imagine when people heard the record, they either loved it or just didn’t quite get it, as it was not a commercial success. For someone today listening to the album, there really isn’t much groundbreaking stuff because you’ve heard the Eagles and other countryfied rock bands, including the outlaw country music of Waylon Jennings and Willie Nelson. I guess the key to the FBB’s sound is the steel guitar playing of Sneaky Pete Kleinow. His playing “provides an almost continuous commentary throughout some of the songs,” according to Wikipedia. Sneaky Pete also supposedly built a fuzz box for his steel guitar and in the song Wheels I couldn’t figure out this sound I was hearing. It sounded like trombones playing one long note and then I thought maybe they found a ship’s horn to put on the song. Turns out it was Sneaky Pete on the steel guitar with the fuzz box. The album is chock full of great country songs that combine folk, rock, psychedelic and gospel music. It’s a great album and I know why it’s included in the 1,001 Records You Must Hear book. It’s both a great musical experience and it’s a historic record that influenced and changed music in the era. This formation of the band broke up after their second album and Gram Parsons got into the rock star life and was dead of a drug overdose right before his 24th birthday. I think just about everyone can enjoy this album, not just musically, but for how you can hear how they influenced others.

I’ll admit, I’d never heard of Barry Adamson and certainly never heard his Moss Side Story album. After doing a little research, I was already in. Adamson, who played in the post-punk band Magazine and worked with other artists in the 70s and 80s, was getting interested in film music. He decided to record a soundtrack for a non-existent film noir movie and use that as his way of auditioning for work in film and TV. Turns out, it worked well as his first solo album. film As I said, once I heard the premise, I was in. The songs are all instrumentals, except for sampled dialogue, screams and a choir. There are three acts in the story and then there are three bonus songs, one of which is Adamson’s verion of the Alfred Hitchcock Presents theme and the theme from the movie, The Man with the Golden Arm. If you’re a fan of Sergio Leone and Quentin Tarantino, you know how important music can be to a movie. In this case, the music is more important than the movie because the movie doesn’t exist. As you're listening to it, you’re imagining the movie playing out in your head. It makes me want to listen to more flim music. Is this something I’m going to listen to over and over or put on at a party? Probably not, but it’s just so cool, I think everyone should at least experience it.

I have mentioned several times that as a younger, dumber dude back in the day, I was just straight up Metal ‘til I die! So, I missed a lot of alternative bands that are now some of my favorites, like Rage Against the Machine, Tool, and Jane’s Addiction. I know, they are metal-ish, but when they came on the scene, I was still grieving the death of hair metal. I would have thought by 2010 I would have been more open-minded, but alas, still dumb. I missed out on The Arcade Fire. At that time, I was listening to the Dan Patrick Show and he’d play their song, Wake Up every Friday to send us into the weekend and that was a great song. I listened to an Arcade Fire album and was not impressed. Perhaps The Suburbs is their only good album, because it is good. Around 2010, we were in a kind of folk rock revival with Fleet Foxes, Blitzen Trapper and Mumford and Sons. I was against this movement, not heavy enough. Though it must be mentioned, I actually liked Blitzen Trapper. I’m a stubborn, stubborn idiot, turns out. Anyway, as I listen to The Suburbs, I see the error of my ways. It’s not some country/folk album, it’s an album that rocks. Maybe they pulled a Dylan and went electric on this album, but every song is good. Month of May sounds like a lost Queens of the Stone Age song. Lately, I’ve decided to weigh the importance of these albums less, even though some truly are, and more judge the albums by, “Did I enjoy this?” The Suburbs, is it important? I don’t know, but I sure as hell enjoyed it.

I have a love/hate relationship with the Doors. I hate just about all the singles, but I love the album tracks. The Doors' debut album has arguably their two biggest hits, Break on Through (To the Other Side) and Light My Fire. I’ve heard those songs since I was born, so I’ve gotten burnt out. I love Soul Kitchen, The Crystal Ship, 20th Century Fox and Back Door Man. Those songs do get some radio play today, but not as much as the hits. I’ve heard 7 of the 11 songs on this album on the radio at some point in my life, which is incredible for a debut album. No wonder it’s on the list. The Doors are the quintessential 60s band with Ray Manzarek’s organ and Jim Morrison’s “poetic” lyrics. The organs supply the psychedelic sound and Morrison’s lyrics supply the drug-fueled poetry that appealed to young people in the 60s. Both, at times, drive me crazy. Plus, I’ve never really been convinced Morrison was a poetic genius. He was insane, which actually works better for rock ‘n’ roll. I’m not a lyric guy, as I’ve explained before, so maybe that’s why I like more of the “easy” songs, like Back Door Man, though it takes on a whole new meaning these days than it did in the '60s. Songs like The End sound cool, but you have to do some research to see what Morrison was trying to say. At the time, this album blew people’s minds. Paul McCartney said it was an influence on Sgt. Pepper’s Lonely Hearts Club Band. Since that time, and Morrison’s untimely death, the praise and love for the album have only increased. The closing song, The End, is a psychedelic masterpiece, though I can imagine in 1967, it scared the squares to death. If for nothing else, that brings me back around to loving the Doors. Get into the Doors, they’ll get you fired up, make you scratch your head and maybe open up your mind, dude. Ride the snake!

Traffic was a supergroup formed in 1967 featuring Steve Winwood and Dave Mason. Winwood and Mason were the two who put the super in the group and wouldn’t you know, it seems they had trouble working together. One way you can tell is that this 10-track album includes five songs written and sung by Dave Mason and five songs written and sung by Steve Winwood. Also, this version of Traffic had broken up by 1969, though other versions would come together over the years to record and tour. Mason’s songs were more folky rock songs with pop sensibilities. Some of his songs sounded like lutes were being played on them. Winwood’s songs were jazzy, bluesy rock songs, and I liked his half better. Mason’s songs weren’t bad, in fact, Mason wrote the hit on the album, which you might have heard, it’s called Feelin’ Alright. With some of these albums on the 1,001 list, I have to figure out why they were included. I’m not saying this album is good, it is. But it just doesn’t blow me away. The musicianship is great, the songwriting is good. The lyrics are plain enough, save for a few songs that leave you to wonder what they’re singing about. At the end of the day, I enjoyed the album, but it’s not going in regular rotation. However, I think you'll be fine if you want to skip this, but if you like folky/bluesy/rock/pop music from the 1960s, this might be your jam.

You may not know this about me, but I love a good pure pop song and dance music. I grew up in the mid-70s into the early 80s and disco was going strong. My heart may belong to heavy metal, but my booty belongs to dance music. Hot Chip is dance music or alternative dance music or whatever weird genre you have, but at its heart, it's dance music. What makes Hot Chip more alternative, I guess is that it's a band and not a DJ spinning records. Most of the instruments are synths, but that's okay. For the first listen, I was at my desk working, and the next thing I knew, I was chair dancing while typing up the real estate report. Upon second listen last night, I again was dancing in my chair, but paying more attention to the lyrics and the sounds. I swear I heard video game noise samples in the songs. You don’t hink much about the lyrics of dance music, but the first track, Motion Sickness, seemed to by about a Sony Discman playing music for you. I loved Sony Discmans…or is it Discmen? Anyway, other songs are about God, love and the loss of a brother. Pretty deep stuff for a booty-shaking record. At first I wondered why is this album on the 1,001 list, but as I kept going, I kept feeling good and getting happy. This album, at least for me, brought me joy. And it wasn’t like I was sad or down before listening, but it wasn’t until I listened to In Our Heads that I noticed I felt really good. It reminded me a bit of the same feeling I had the first time I heard The Scissor Sisters' debut album. Just pure pop joy. If you’re a fan of dance music or synth-pop, or you just want a bit of a boost, then this album will get you off.

I was still kind of plugged in to the music scene when The xx released their debut album xx. In fact, there was such a buzz about that album that I listened to it. I don’t remember it making a very big impression, but I could have been a narrow-minded music nerd at the time. So, I was kind of excited to be giving it another try. Upon first listen, as I was working at my desk, I really liked it. I thought I’d made a huge mistake back then. While the songs were kind of simple with just a few instruments and some digital sounds, the vibe was very chill and relaxed. And, surprisingly, the songs had a bit of a beat to kind of bop to a bit. After listening to it, sitting in a chair, concentrating and reading the lyrics, I kind of came back to earth. The songs are simple and kind of sound the same, which isn’t bad necessarily, look at AC/DC. The lyrics to me sounded very high school teen, angsty, kind of “I’ll never love again” at age 16. Plus, you can tell this band was a fan of New Order, The Cure, Joy Division, and other 80’s new wave, but what really hit me was The Kills. The Kills are a two-person alt/rock group that is very minimalist and I love that band so much. Check out The Kills’ Midnight Boom. But several songs, I thought, this could have been off of a Kills album. Because I could easily pick out the influences, I thought it was weird that this album got so much love. I remember a band called She Wants Revenge, which I really liked, but the critics killed them for sounding just like their influences. Many of which were shared by The xx. It was confusing. Not that I don’t listen to trashy music, I do, but I really thought She Wants Revenge was going to be around for a while. Nope. Maybe the critics were just being narrow-minded idiots at that time, and 3 years later, they were all in. This album was great when it was just on in the background while you're working. But when I sat down and really got into it, even at 37 minutes, I kept wondering, “When is this going to be done?” Not sure it’s one of the best albums of the 21st century, or of 1,001 you need to hear, but it’s alright.

Ugh. When I saw this was my album for the day, I was not looking forward to it. Mainly because its kind of everything I dislike about 60s music. What really drives me up the wall are the organs. Once the organ made its appearance, it seemed to be in every song. You hear an organ in a song, it's most likely the 60s. I began listening and the organ was there, but it didin’t drive me crazy. But I’ll admit I almost quit listening and was just going to chalk this up to a Roni Size album, unlistenable. But I persevered, dammit! As I continued, I started to groove a bit. I’m certain In-A-Gadda-Da-Vida was the only song I had heard from this album. The other songs are alright. In-A-Gadda-Da-Vida is the highlight, especially the 17-minute album version. I mean, there’s a 3-minute drum solo in the middle. I think the reason this album is in the 1,001 albums you need to hear is just for history's sake. In-A-Gadda-Da-Vida was arguably the first attempt at heavy metal, though I’m sure some could provide earlier examples. The other songs are just good examples of 60s rock, but nothing special. I’d say you don’t even have to hear the other songs, but listening to the 17-minute version of In-A-Gadda-Da-Vida is a must, at least once.

What in the hell did I listen to? I’d never heard of Laibach and I can understand why. It sounded like music for a fictional fascist regime in a movie, or current hate groups in the world today. Laibach is described as avant-garde in Wikipedia, and I agree. Wiki also says they are associated with industrial, martial and neoclassical music. That sums it up. I’ve never been a fan of industrial-type rock and metal. While there are a couple of Ministry songs that tickle me, they aren’t really my type. I’m not even a huge fan of Nine Inch Nails, who dabble in industrial rock. Laibach seems to be a satirical band playing with some really crazy imagery and ideas. The problem is, when you’re creating satire, making fun of something really evil, some people don’t get satire and are legit into the really evil thing you’re just trying to make fun of. Beyond that stuff, which can be scary, Laibach apparently are huge Queen fans. The reason I know this is because on Opus Dei Laibach includes a cover of One Vision and a few samples from Queen’s A Kind of Magic album. It’s weird to hear One Vision sung as a kind of German military song. The whole album kind of gives me the piss shivers. That’s not to say there aren’t some very musical parts, but when the vocalist keeps shouting, “Jawohl!” throughout the song, it can become comical. By the way, Jawohl is pronounced yah-VOL, with the emphasis on VOL! So, if you’re favorite band is Rammstein, Laibach’s Opus Dei is the album for you. Otherwise, you can skip it….I wish I did.

Songhoy Blues has an incredible story behind its formation and quite frankly, it’s probably the main reason it's on the 1,001, list. Songhoy Blues is made up of a group of people from Timbuktu, Mali. They were forced out of their home during civil unrest, where the people in charge imposed Sharia Law. Under Sharia Law, music is banned. So these musicians moved to another part of Africa and formed Songhoy Blues. The name comes from the fact that three of the members of the band were part of the Songhoy people in Africa. Their style of music has been described as desert blues. I don’t know about all that, but Songhoy Blues are definitely a blues band. They were inspired by the Beatles, Jimi Hendrix and John Lee Hooker, according to the band. You can hear it all in their songs. They sing in French and these guys can wail. Songhoy Blues doesn’t play the regular style of American blues we’re used to hearing, But you know it's in there. They’ve added more African rhythms to their songs, making yheir music something new altogether. Well, new to Americans, moat likely. I’d heard of the band before getting into the 1,001 challenge I’m doing here. I’m not sure if I ever listened to them, but I have heard Bombino, who became really popular around the same time as Songhoy Blues. Bombino and Songhoy Blues play a similar style of music. Also, there is some really cool psychedelic African blues from back in the 1970s that will blow your mind. So Songhoy Blues isn’t that new for African rock, but they really brought it to the world stage in 2015. Songhoy Blues is definitely worth checking out. They have a unique way of playing the blues. It’s fun to hear how Jimi Hendrix and the Beatles go into their ears and come out Songhoy Blues. I’m not sure if this album will be a part of my regular playlist, but I’ll definitely come back to it occasionally to kind of refire my synapses.

When I saw Led Zep III come up yesterday, I thought this was going to be easy, as I’ve heard this album about 100 times. I became familiar with it when Robert Plant and Jimmy Page got together for their Jimmy Page and Robert Plant Unledded tour thing. They took about a dozen Led Zep songs and re-arranged them acoustically or using weird instruments. One of the songs they did was Gallow’s Pole, which I had never heard, and it was on LZ III. By the Way, what happened to John Paul Jones in that deal? JPJ is a badass and was a huge part of that group, but consistently gets overlooked. But I digress. The first thing that kind of strikes you about LZ III is that it has a few more softer/acoustic songs on the album, and the lore says it's because LZ wanted to prove to the snobs who had their noses up the butts of Crosby, Stills, Nash, and quite possibly Young, that they could also write cool folky acoustic rock songs. At the time, most critics were lukewarm, at best, about LZ III. Of course, most critics were lukewarm on LZ I & II and by LZ III, LZ were arguably the biggest rock band in the world. It shows you what critics know in the heat of the moment. Now of course, just about every LZ album is universally loved and deemed a classic. For me, the standout on LZ III is Since I’ve Been Loving You, mostly because I’m a huge blues fan and this song is white boy blues at its best. All the songs on the album were written by the boys in the band except for Gallow’s Pole, which was based on an English old-timey folk song, and Hats Off To (Roy) Harper, which was based on an old blues song by Bukka White. A song called Tangerine is on this album, which didin't mean anything to me until I saw Almost Famous and now it's one of my favorite LZ songs. Fills me with such sweet melancholia. LZ III isn’t my favorite LZ album, but it is great and there isn’t a song on it that I’d skip when listening to it. When I was listening to this fervently back in 1994-1995, I wasn’t really paying attention to lyrics, because it wasn’t until yesterday that I found out the song, That’s The Way, wasn’t just a love song about Plant having to leave a girl because he’s got to ramble or whatever. No, That’s The Way is about a mother telling her little boy not to play with the little boy from across town because he’s got long hair and is literally from the bad side of town. Plant wrote it after LZ toured America because the group would get harassed because of their long hair. Man, could we go back to the days were people just cared about the length of your hair? Anyway, That’s The Way still has a message for us idiots today. That's The Way is also in Almost Famous and it just fills me with the same sweet melancholia. Man, I love Penny Lane. LZ III is an album you have to hear, but I expect we’ll see at least 3-4 Led Zep albums in the list.

This album is brilliant. That’s all that really needs to be said about it. Sufjan Stevens is a musical genius, and I think this album will end up being one of the best albums of the century. Now that the hyperbole is out of the way, I’d heard about this album in 2005 when it came out because all I heard was this album was incredible, it was the best of the decade thus far, and blah, blah, blah. I was knee deep in System of a Down, the White Stripes, and other metal-ish music, probably even nu-metal, ugh. I’m not sure I would have appreciated this album as much if I had heard it in 2005. Sufjan Stevens is a singer/songwriter who claimed he was going to write an album about each state. He started with Michigan, which is where he was born, and then Illinois was the second album. Turns out he was joking about his 50 albums for 50 states, but thank God he at least got to Illinois. This album is hard to explain. The style is indie rock? I guess? It’s not the Strokes or Wilco or whatever indie rock is supposed to be, I don’t think. There are orchestras, lwith oboes and strings and bells and it’s like the soundtrack to a musical that wasn’t created yet. Though they did make a musical out of this album in later years. Here’s a peek inside my brain, I love musicals. Don’t know why. Maybe it's because I love music, I've got to have it in my life. So if the songs are good, I’ll buy into people singing to each other all day long. The songs are a mixture of history about Illinois and Stevens' life growing up in and around Illinois. There’s a song about losing a friend to cancer, that almost had me bawling at my desk here. There’s another song about the dead rising from their graves to attack the living. There’s a very beautiful but creepy song about John Wayne Gacy and how each of us has that evil side that we try to hide from everybody else. This album is a must-listen in my mind. Check it out one time and if you don’t like it, I’ll give you your money back. As long as the listen costs you nothing. I’m excited to add this to my regular rotation of albums to revisit every so often, to explore it even deeper than the two listens I had yesterday.

I wasn’t a PJ Harvey fan when she was at her peak, though I wasn’t against her. About the only thing I knew from her was her appearance on Beavis & Butthead with the song, 50 Ft. Queenie. I also heard her on Josh Homme’s Desert Sessions album, vol. 9 & 10, I think. So I went into this album cold, though not afraid. She’s a rocker. Pretenders Critics say this album is her best, and it is really good. The album came out in 2000, so it still has a ’90s sound to it. Harvey is a great singer, and she reminded me immediately of Chrissy Hynde from the Pretenders, a band I like, though I'm not a superfan. The album also includes an appearance by Thom Yorke from Radiohead. While I enjoyed the album, and maybe this is a Sufjan Stevens’ Illinois hangover, it just didn’t make that big an impression on me. It’s good and I’m sure some of you would really like it, but I’m not sure I’ll even remember the title in a year. Perhaps I’ve heard too much in my day. This sounds like 1995-2003. It’s good, but not great. I do love the song Big Exit, which is Harvey’s feelings about being exposed to the gun culture in America. Both songs with Yorke are great, and I loved The Whores Hustle The Hustlers Whore. If you like that kind of alt-rock from the late 90s, I think you’d dig this album, but I don’t really think it’s that special. Maybe three weeks from now, it’ll draw me back for another listen, who knows?

Hot damn, I got a good album for today. If you all didn’t know, in the last decade or so, I’ve really gotten into Motown and Stax records. Rock ‘n’ roll is dead, or at least boring, so I jumped in a time machine and went back to the 1960s and 1970s to hear the jams I missed. And this album is right in my wheelhouse. There are songs on this album that are just imprinted in our brains and we don’t even know how or why. It’s like Aretha Franklin’s music is in the air and you pick it up without even realizing it. While listening to this album at work yesterday, I had to stop working a few times and just listen to these songs. For example, (You Make Me Feel Like) A Natural Woman, is just jaw-dropping and I’ve heard it 1,000 times. That song is so good that if you’re a dude, it’ll make you wish you were a woman just so you can really feel what that song means. I mean, it gets to you in your guts. Chain of Fools is a perfect song. It was her biggest hit off this album and was covered very nicely by a band in the hair metal era called Little Caesar. Embarrassingly, that’s how I first heard the song. I loved it then and when I heard Aretha’s version, I quickly realized she, of course, had the better version. People Get Ready takes you to church and for a southern boy like me, growing up in the church, this song reminds me of the incredible music I got to hear all my life. It’s music that swings and makes you feel good. It makes you want to go out and get baptized. Beyond Aretha’s voice, which is universally known and perhaps the greatest singing voice ever, the music is played by the Muscle Shoals Rhythm Section, or the Swampers. The Swampers played with everybody back in the day, including, Lynyrd Skynyrd, Wilson Pickett, Aretha, the Rolling Stones, Bob Dylan, Bob Seger, Paul Simon and more. It’s like fate meant for these two entities to come together. Hell, even Eric Clapton pops up on the song, Good To Me As I Am To You. I’m talking good Clapton, CREAM Clapton. I’ve often wondered if I’m the only one this happens to, but I get this thing where I’ll be listening to music, like great music, music that’s just so good that I start to feel emotional, like I’m going to bust out crying just because, I don’t know, it’s so beautiful. Anyone else like that? No, just me? Listening to this album there were several times I had to literally stop and compose myself. I haven’t had that happen in a while and that’s why I know this is a legendary album everyone must hear before they die.

For the picture I have in my mind of Neil Young, the album cover of On the Beach ain’t it. Neil Young is buckskin coats, moccasins, a flannel shirt, standing in the forest in the fall. On the Beach has him, literally, on the beach in white pants and a yellow sweater. It’s weird. The music, though, is Neil Young. Good music with lyrics that mean something, and his patented stop-and-start, weird guitar solos. This album was his attempt at not doing what he had been doing to get big and famous. I can appreciate that, but without knowing what the albums before this sounded like, I’m not sure I’ll get the big deal. There are a lot of blues songs on here, at least blues Neil Young’s way. I liked everything on here, but I’m not sure its impact is something that can be digested in a day’s listening. It seemed critics were like that when it came out in 1972. It’s one of those albums that grows on you with further listening. I listened to it twice, with the lyrics the first time. I must say, it didn’t blow me away. On many of the albums on the 1,001 list, it’s hard to appreciate things that were new in the 1970s when you’ve heard everything since then. I will say, Neil Young has been a blind spot in my music listening life, and I’m looking forward to more albums. Maybe one day, I’ll just start them and listen to them in chronological order. Until then, I think the significance of some of these albums I’m missing.

Super excited to see that I got this album yesterday. I had so much fun with the Elle Fitzgerald album, I couldn’t wait to listen to this….but I had to wait because football and sports betting took precedence. So after I lost all my money, I popped on Lady Day to help ease my wallet. Well, I was surprised to hear that Billie Holiday didn’t sound like a carbon copy of Ella Fitzgerald. Holiday has a very unique singing voice, at least on this album. She kind of reminded me of a female Louie Armtstong. She has a bit of a frog in her throat. It’s not bad, but it takes some time to get used to, I must admit. After consulting Wikipedia, at this point in her career, her voice had changed due to years of alcohol and drug abuse, and she didn’t quite have her upper register, at least according to critics. However, her voice still has this quality to it that can’t be explained. It’s like hearing Johnny Cash on those American Recordings albums he did in his last few years of life. The music is beautiful with a full orchestra backing Holiday. It’s so good. Nothing like an orchestra to bring out a female singer’s voice. The songs are these sweet, and sometimes mournful, jazz and pop songs. While her voice might not sound the same as it did 10-15 years earlier, it still works. I found myself falling more and more in love with Holiday as I listened to this album. I’m going to go back to hear what she sounded like in her early career. Holiday would be dead inside a year after recording these songs due to years of alcohol and drug abuse. It’s a shame that so many talented artists who make millions happy with their art are also some of the most tortured souls.

Prince was a musical genius, and he was one of the kings of music in the 80s, where he did some of his best work. 1999 was his big breakthrough and it's easy to see why. The first three songs are 1999, Little Red Corvette and Delirious. Those three are easily in my top 10 Prince songs, if not top five. 1999 was also an influential album as it brought the Minneapolis sound to the masses. The sound that mixed dance, electronic music, funk and R&B. I love Prince, but one of my main issues with a lot of his music is that a lot of it doesn’t age well. For instance, when you hear a Prince song, you know what decade it's from. A lot of his songs have weird synths or that lame kind of bass pop or primitive electric drum sound that gives the decade away. You won’t hear too many Prince songs in which you can legit say, “I have no idea what decade that song was made in.” It’s not necessarily Prince’s fault. He had a style, hell, he invented a style. It just so happens the Minneapolis style didn’t age well after about 1995. However, I was surprised to find several songs from 1999 that did sound like they could have been made in any decade. The song Free is a beautiful song that isn’t as buried in the Minneapolis sound as to sound dated. I have no idea why it wasn’t one of the five singles off the album because it’s a very beautiful song. It later became a beloved album track. 1The music on 1999 was so undeniable that MTV started playing Prince’s music videos and MTV wasn’t exactly black-artist friendly at the time. It took artists like Prince and Michael Jackson to help MTV realize their music wasn’t just for black folks, it was for everybody. I’m listening to D.M.S.R. right now, and it’s just a straight-up brick of funk. I’m going to stop writing now and finish this song. Listen to 1999, it’ll give you a good dose of nostalgia and introduce you to some great songs you haven’t heard before.

This album was nothing I expected it to be. I had heard of Tim Buckley, but mainly because of his son, Jeff Buckley. I thought Tim Buckley was a singer/songwriter, and he is, but he evolved from the hippie folk scene to a more avant-garde sound, then to a funk sound before passing away at 28 from a drug overdose. It doesn’t seem like Tim Buckley had enough of a career to land an album on the 1,001 list. Greetings From L.A. was probably his biggest-selling album, but it points out in the Wikipedia article, “Like most of his other albums, Greetings from L.A. did not sell well.” Greetings is a kind of a funk album, kind of a rock album, it’s just kind of weird. I can’t tell if it’s supposed to be a parody album or if Tim Buckley is on the level. As a praody album, it's not bad, but as a legit, 'No, this is the album,' it seems a bit self-indulgent to me. I’m just not sure if I’m supposed to take it seriously. Move With Me is the lead song about a man trying to get a married woman to have an affair with him. Actually, most of the songs are about a man trying to have sex with a woman. Wikipedia did refer to this point of Tim Buckley’s career as the “sex funk” period. The problem with the “sex funk” albums was that the lyrics were a little too out there for pop radio, and what few fans Tim Buckley had made as a folk artist were not into sex funk. But he did gain a cult following, probably swingers and folks from nudist colonies, and those who love visiting nude beaches. Not that there’s anything wrong with that. It’s just not a big enough fan base to get you to sell out Madison Square Garden. I still don’t know what to do about this album. Tim Bucklety seems like he might be an a-hole, as he left Jeff Buckley and his mother about six months after Jeff was born and died before any relationship could have been worked out. Jeff Buckley went on to only outlive his father by two years before drowning in the Mississippi River in a weird swimming mishap of some sort. You can live a nice, long life without ever hearing Tim Buckley’s Greetings From L.A. But, if you're into sex funk or are a little sex funk curious, then feel free to indulge.

Bonnie Raitt was huge in the '90s, and I didn’t pay much attention. However, you couldn’t get away from her, as I seem to remember hearing a couple of songs off of this huge album, Nick of Time, including the title track and Thing Called Love. Ordinarily, I’d be programmed to hate this with a passion. It’s essentially everything I dislike. It’s tepid Eric Claptonish pop blues music from the '90s. But, despite my efforts to hate, I couldn’t help but love most of the album. There are cringe parts located in it, the funky bass popping that you hear in ’80s music is in a few songs. One song, Have a Heart, sounds like it could be in any number of 80s romantic comedies, perhaps Weekend at Bernie’s. Holy crapballs! I just googled it, and it was in a little-seen Bob Hoskins and Denzel Washington movie called Heart Conditions from 1990. Heart Conditions also stars CT from Magnum P.I. and Willona from Good Times. Damn, that sounds like a good movie. According to IMDB, “a racist cop receives a heart transplant from a black lawyer he hates, who returns as a ghost to ask the cop to help take down the men who murdered him.” Now that is pure '90s gold. A buddy cop movie with a black ghost and a white racist cop. How was that not a hit? I’m digressing horribly. The more I listen to this album, the more I really love it. Maybe it’s nostalgia, maybe I’m just a fool for the blues, I don’t know why, but there’s enough good stuff to outweigh the cheese. At one point, I was listening to the album while I was working and the song Nobody’s Girl got me. Like I thought I was going to start squirting tears right there in front of the Mac-Mini. Maybe it’s because I know Raitt’s backstory, she was dropped from her label and left for dead so she turned to drugs and booze and food and kind of gave up. She then straightens up and explodes. It’s a feel-good story and this album seems very personal. I may look like a serial killer, but I’m a big softie at heart and Ms. Raitt got me. At the end of the day, I even grew to enjoy Have a Heart. I can see why Nick of Time is in the 1,001 albums to hear list because it’s an album that makes you feel something and you don’t get that from today’s music much.

I’ll admit, when I saw the name Abdullah Ibrahim and the title Water From an Ancient Well, I thought, what is this going to be? I was totally going in blind on this one. Turns out it's jazz, like the jazz you can listen to, not the John Coltrane type jazz where everyone is playing totally different rhythms and keys and time signatures. This style of jazz reminded me of A Charlie Brown Christmas and the Vince Guaraldi trio. There isn’t much information out there about this album, Ibrahim is a South African pianist and composer who is also known as Dollar Brand. Now that’s cool. I’m not really a jazz guy, I just know what I like. I’m not sure I’m smart enough to know what I’m supposed to get out of this album. This kind of jazz isn’t very complicated, so it’s very enjoyable and easy to digest. The album came out in 1986 and a lot of the songs sound like they could be in ‘80s rom-coms at the time. The bass sound really lodges you right in the ‘80s. The songs are very good. I listened to the album three times already and it gets better every time I hear it. Am I grateful to have heard this album before I die? Kinda? I’m probably not going to put it in my regular rotation, but for jazz lovers who may have missed this album, I think you’ll enjoy it.

Oh, baby. I’m sure I’m not the only one who was caught up in the Jagged Little Pill hysteria that began after You Oughtta Know came blasting out of the radio in 1995. Yes, 1995. That’s 30 years ago, people. Ugh. Anyway, I bought this CD and listened to it over and over. I guess I was a teenage girl at heart, but I did really dig this album. I haven’t listened to it in about 29 years, but God knows we all heard enough of it when it was out. I think that’s why I was dreading this listen. I got so burned out on it that I turned from a fan into a hater back in the day. So, as I began my first listen, I got the nostalgia feels that come with being old and remembering when this album was huge and I was young and had all the chicks. Well, some of that sentence is true. Then I heard the first occurrence of Alanis’s, um, quirky, vocal styling. The yips and, the quirks and all the other weird affectations that I assume were real. Were they? But after you get to the hits, I kind of forgot about them and just enjoyed the trip back to 1995. By the time I got to the song Forgiven, I stopped working to listen to it. Forgiven is a great song. Not that the others aren’t, but I’ve heard them 1,000 times. Dang, this is a pretty good rock album. Then you find out that Flea and Dave Navarro played on You Oughtta Know and that’s like pure 1995 Chili Peppers. That can't be bad, right? No, One Hot Minute fans out there? It's very underrated. I may be swept up again in Alanis fever, but I think this is an album that deserves to be on the 1,001 list. Not only was it a phenomenon and helped boost the short-lived Litlith Fair phase, but it’s a damn good rock album on its own. It’s full of quasi-hard rock with pop sensibilities that really worked in the 90’s. If you’ve never heard this album, you should listen to it before you’re dead.

I’ll be honest, I had a busy weekend and I’m tired and sweaty. So, my head wasn’t really into listening to a “British acid jazz trio” as Red Snapper were described in their Wikipedia entry. Their album Our Aim Is To Satisfy is supposedly their best album and I couldn’t be happier for them. It’s not for me. It’s just kind of the same beat over and over with some tiny variation and someone singing a hook over and over, with a little rapping sprinkled throughout the album. The first time I listen to any of the 1,001 albums I am assigned, I listen while working. Saturday, I listened while reading. After the first song, not once did I stop and just listen or think, “Man, that was a great song.” Maybe it was the headspace I was in, or more likely, this type of music ain’t my bag, baby. And that’s alright. Rather than get angry and write how this music shouldn’t exist or call anyone who likes this album idiots, I’ll just not listen to it again and go on with my life. If you’re a fan of acid jazz, you probably already know about this album, but if not, you might want to check it out. Man, I’m tired.

I was never a huge fan of the Sex Pistols growing up. I didn’t like Johnny Rotten's voice, or whatever you call it. I was more into actual singing, plus I’d been conditioned to believe they weren’t very good because they really didn’t know how to play their instruments. I was just a poor, square nerd. But then I got into listening to Steve Jones’s radio show, Jonesy’s Jukebox, and he won me over, so I gave them another try. Turns out I love the Sex Pistols. The Pistols actually could play their instruments, a little bit, at least enough to crank out some tasty riffs. Johnny Rotten, while he couldn’t, or wouldn’t sing, could write lyrics that horrified you, but also made you think…If you could get past the initial shock and all the curse words. Each time I listen to Never Mind the Bollocks, I find a new favorite song. Perhaps my favorite song is Submission. The band’s manager had a shop called SEX that sold fetish items. He asked Rotten to write a song about S&M. At this point, Rotten had grown to dislike the manager and instead of writing a song about sexual submission, he wrote a song about a sub mission. As in, “I'm on a submarine mission for you, baby.” The groove, the riff and the inanity of Rotten singing about being on a submarine mission for a girl’s love is incredible. While the Pistols didn't start punk, they helped amplify it. I’d recommend this album to those who love rock and roll, whatever the genre. But be ready to clutch those pearls if you have delicate sensibilities. Even today, the lyrics paint a very crude, but descriptive picture.

I’m not really a fan of R.E.M. I’ve never owned any of their albums, back when you had to buy music albums. I kind of miss those days in a weird, masochistic way. Anyway, I never bought their stuff, but you really couldn’t get away from R.E.M.. They seemed to be on MTV every hour, back when MTV played music. So when I got their album Green for today, I thought, I’m sure to have heard some songs off this album. I did. I distinctly remember hearing Orange Crush, Stand and Pop Song 89. And I remember liking all those songs. Turns out, maybe I am an R.E.M. fan and didn't know it. The more I got into the album, the more it just kind of sounded like the Beatles filtered through Georgia. R.E.M. can write pop songs. Not sure they really wanted to do that, at least starting out, but they figured out how to write happy pop songs with some not so happy lyrics. You know, the whole spoonful of sugar gag. What’s funny about Green is that this is the experimental album for R.E.M. It was their sixth album and they had a style by that point. Michael Stipe told the band to stop writing R.E. M. songs, and when they did that, you get Green. Now, I’m well aware the album was probably a shock for the hardcore fans at the time, no hardcore group of fans ever wants “their” band to change or grow and evolve. But this album broke R.E.M. open to the mainstream. The next stop was the biggest band in the world for a period of time. I really like this album, being a country boy from the home of Bill Monroe, I love the mandolin that was sprinkled about, but all in all, the group knows how to write a song. And more importantly, they know how to write a song to make you feel something. If you’ve never gotten into R.E.M. you should check this album out. There are some really great tunes on this album.

This is my third Neil Young album during this 1,001 thing I’m doing. Tonight’s the Night was recorded after Danny Whitten, a member of Young's backing band Crazy Horse, overdosed and died. Then, Bruce Berry, a roadie for Young and Crosby, Stills, Nash and Young, also died of a heroin overdose. The deaths gutted Young and the rest of Crazy Horse. This album was Young, the remaining two members of Crazy Horse and Nils Lofgren, of E Street Band fame, gathering up in a studio, smoking weed and drinking tequila all day, only to begin recording around midnight when they’re all tuned up and high AF. And the album sounds like it. It’s sloppy, Young’s voice is struggling, and it sounds like most of the songs were done in one take. With all that being said, I love this album. I realize it may mostly be the backstory. Before reading about the recording of this album, I thought it sounded like a mess. It legit sounds like a bunch of dudes got high and drunk and decided to record some songs. But when you find out they’re all essentially gutted by the deaths of their friends and this album is an expression of their grief, it turns the album into a masterpiece. This album is the third in Young’s Ditch Trilogy. It’s called the Ditch Trilogy, as Young has become so famous and recognized, he decided to stop making music that had made him famous. He started experimenting more and wanted to create anything except what it was that made him popular. He was “driving his career into the ditch.” Much like Dylan going electric and not wanting to write just protest songs. On the Beach was one of the Ditch Trilogy albums, which I listened to about a week or two ago. It didn’t blow me away, but Tonight’s the Night got me. The songs are dark and filled with grief. They’re also about drugs; in fact, one song, Tired Eyes, is about a drug deal gone wrong in which Young’s friend had to kill a couple of guys. Another song, Come On Baby Let's Go Downtown, is a live song sang by Whitten while Young and Crazy Horse were on tour. And yes, the song is about drugs. Young wasn’t trying to write any hits with this album; he wanted to capture a moment and he succeeded. Tonight’s the Night is like a wake. But knowing that turns it from a sloppy-sounding average rock album into something almost sacred. There are a lot of darkness and grief on the album, but there are beautiful moments too. Lookout Joe is one of my new favorite songs and Lofgren plays one of the most amazing solos I’ve ever heard on the song Speakin’ Out. New Mama is more like CSN&Y, with an acoustic guitar, piano and great harmonies. I don’t know if I’m slowly becoming a Neil Young guy, but after listening to Tonight’s the Night about seven times since yesterday, I’m definitely a Tonight’s the Night fan.

This album takes me back. I didn’t own it when it came out in 1983, but Cyndi Lauper was everywhere, or at least in most of the places I was as a 9-year-old kid. She was on the radio, she was on TV with her music videos, hell, she was on my wrestling show. Her song Girls Just Want to Have Fun was not just a hit song, but probably the song of the year and maybe the next couple of years. In addition, the album had three other top five singles. Although back then it seemed there were a lot of albums with a bunch of huge singles on them. Maybe it’s nostalgia, but it seems like music was bigger back then. The artists were bigger and they were more mysterious. I guess the internet has fragmented music so much that there isn’t an artist who captures the attention of the whole world. But I digress, which is what I do best. This was Lauper’s first solo album, as she had an album with a band called Blue Angel that went nowhere. After regrouping, she put out this synth-pop, new wave classic. This is an album of its time, but there are really good pop songs on here. I know in 1983, I hadn’t fully become a heavy metal snob, and I had no money to buy albums, so I lived on the radio. I remember loving Cyndi Lauper, she seemed fun and crazy. She was also sneaky and subversive as she snuck the song She Bop past most people. I know, as a kid, when it came to She Bop, I just thought Cyndi loved dancing. I said earlier, this album was of the time, and it was, but maybe I’m looking at it from the perspective of living through that time. As I try to listen without old ears, I think a lot of these songs could be hits today. In fact, we could use more songs like these out there in the ether. Maybe it would calm some of these insanos down a little if we all bopped more and fought less. If you’re my age, which is old enough to remember when Cyndi Lauper was all over the radio, or are a young whippersnapper, I think you’ll enjoy a nice trip back to 1983 with She’s So Unusual.

I got into rap around the 7th grade when I discovered Run DMC’s Raising Hell. It was the Walk This Way video. It made me a fan of both Run DMC and Aerosmith and rap music. I’d not heard of Afrika Bambaataa at the time, and not sure I’d ever heard any of his music until yesterday. That is, none of his music performed by Afrika Bambaataa, I had heard Rage Against the Machine perform his song Renegades of Funk, which is badass. I turned on Afrika Bambaataa and while it did bring back memories of that time discovering rap music, it didin’t do much else. Plus, I learned about some troubling issues with Bambaataa and it made me want to enjoy it even less. I instead wanted to listen to 2 Live Crew and early NWA with Arabian Prince on their first album. While they have their own controversies, it's what I grew up with. I’d imagine any young person listening to hip hop today wouldn’t even give Afrika Bambaataa or any rap from the mid-80s a second listen. Even to my old ears, it sounds kind of lame. Is this an album you need to hear before you die? If you’re a hip hop or rap historian, yes; otherwise, I’d just as soon have been issued 2 Live Crew’s Move Somethin’ or N.W.A. and the Posse’s album.

I remember when Beck appeared out of nowhere with the song Loser, a song he will be known for his whole life and beyond. I wasn’t too impressed and never really got into him. It seems I might have made a mistake. I thought Beck was just samples, bad white boy rap, and goofy nonsensical lyrics, then he gets his heart broken, and he makes a brilliant album about heartbreak and loss, which is not nonsense. In fact, it's brilliant. Beck’s Sea Change can be described with two words: beautifully dark. This isn’t a feel-good album, but the music, combined with the dark lyrics, gives the whole album this melancholy feeling of loss, disappointment, and grief. Beck broke up with his special lady friend and decided to just write actual songs with very personal lyrics. Then he had his dad, who composes music for movies, add string arrangements to the album. The strings put this album over the top. I read on Wikipedia that this album was a huge critical success when it came out, and it won Rolling Stone’s album of the year for 2002. I rarely agree with RS on its top albums, but in this case, I feel like they nailed it. In fact, Sea Change might have been a top 3 album of that decade. I can’t stress to you enough how good this album is. It made me feel like I was driving around Los Angeles aimlessly, trying to solve a problem, before ending up in the desert alone on the open road. Sometimes albums will put a specific location or setting in my head. Sea Change is one of those albums. I’m not sure if Beck’s other albums are this good, but Sea Change has made me want to explore more from an artist I had written off years ago.

Um…..Uh……I guess I don’t get it. I’ve heard about Guided By Voices forever, but I never knew anything about them. I was kind of hoping they were a punk band, and I guess some might say they are. Alien Lanes is the group’s 8th album and it has 28 songs with some lasting just 19 seconds. In fact, the album has several songs under a minute. Are they songs at that point? Maybe they’re jingles? Music critics love this band, which generally means I’m not smart enough or I’m not pretentious enough to get it. Or maybe I’m not afraid to admit I don’t like it? The songs seem like they turned on the the recording equipment and decided to make up a song on the spot. I guess I can see the appeal to some. I thought of Weezer, the Who, the Eagles of Death Metal’s first album when I listened to GBV. However, I will also listen to those bands in the future. GBV is what some refer to a lo-fi, indie music. They are praised for their songwriting and their lyrics, but I don’t get it. They actually have what sounds like a dude snoring throughout one song. The song is called Ex-Supermodel. Check it out and tell me a dude isn’t snoring. Hey, I get it, I wanted to snore through most of this album. It’s not all bad; there are several good jingles on the album. If GBV worked on them longer than 2 minutes, they might make actual good songs. I don't hate this album, because I’m old. I've never liked this kind of music. Maybe I’m the pretentious one. I recommend not listening to this unless you like pretentious indie rock or you want to hear how snoring can be a musical instrument.

I never heard of the Soft Boys. I have heard of the Viagra Boys, but they’re a more modern band. Anyway, Underwater Moonlight is the Soft Boys' second album, and it was released in 1980. I’m not sure what happened, but it wasn’t really noticed by anyone, it seems. According to the Wikipedia entry, the United Kingdom was in the midst of a printer’s strike, so none of the rock magazines or newspapers were being printed, and there were no reviews of the album, I guess. Their I found that hilarious for some reason. In 1980, if music critics weren’t able to get there views on new albums out to the masses. How else are you going to build word of mouth back then? I remember reading Rolling Stone, Circus, Hit Parader and RIP magazine to find out which hairband I should invest my time in next. Back to the Soft Boys’ Underwater Moonlight, the album fits in perfectly with the whole new wave type rock that became uber-popular in the early to mid-’80s. The Wikipedia entry keeps referring to the album being psychedelic, and there is a bit of that in it, but it mostly sounds like good ‘80s rock to me. Even though the Soft Boys had bad luck with the printers' strike in 1980, they did go on to influence several bands of some renown, like R.E.M. and the Replacements. You can definitely hear the Soft Boys' influence in those bands. Other bands influenced by the Soft Boys were the Stone Roses and the Pixies. As I’m a child of the ‘80’s I very much enjoyed this album. It’s just weird and different enough to keep you wondering what’s coming next, but it still has good songwriting and musicality to keep you from spinning out into no man’s land like our friends Guided By Voices. I think these guys would have been pretty big if they had come along in 1982, rather than 1980. They were too early for what they were doing. Sometimes it’s like that. If you’re too early, no one but hardcores know you and you’re the grandfathers. If you’re too late, you’re just cashing in, the posers. But, if you weasel you’re way into a group of three or four like-minded bands, you become royalty, the kings. Unfortunately for the Soft Boys, they're the grandfathers.

Amy Winehouse was a very talented singer and it’s a shame she couldn’t keep her demons at bay. I loved the Back To Black album, but I’d never heard her album Frank. Apparently, it was the one that broke her or at least got the right people to hear her. However, Frank gets on my nerves so badly. I can only really listen to it when I’m doing something else. Again, it’s just me, but I hate the whole turning one-syllable words into 20, or changing the pronunciations of words, like curb to c-ur-ay-o-ur-ubay. No, it’s curb. Her scatting and be-bopping are nails on a chalkboard to me. Maybe if I hadn’t heard so many less talented singers who copied her style, it wouldn’t bother me as much. Frank’s music also sounds more like a hip-hop album than a nice classic jazz album. Again, it’s just my personal taste. But Back To Black just sounds so much cleaner and classier. And it led to my discovery of the great Mark Ronson. If you like Amy Winehouse and you’ve never heard Frank, I think it probably is a must-hear for fans. The whole album isn’t full of the stuff that drives me crazy. There are great songs on here, like F Me Pumps, I Hear Love Is Blind, and There Is No Greater Love, but they are mostly the songs that sound like classic jazz standards. If you’re like me and little stupid things irritate you, then you might want to tread lightly.

Elvis Costello was before my time of listening to music, for the most part. Plus, he was kind of all over the place musically. Was he punk? Was he new wave? Was he rockabilly? Was he just old-time rock ‘n’ roll? He was kind of everything. On his debut album, My Aim Is True, his backup band was a country-rock band named Clover. The bad news for Clover is that they appeared in London during the punk movement, so they looked like everything punk was against over there, hippies. But they could play some rock ‘n’ roll. I think Elvis Costello’s aim wasn’t to be punk or hip or anything, I think he just wanted to play the kind of music he grew up on, which was 50’s rock’n’ roll. In 1977, you had disco, big arena rock bands and the youngsters just wanted simple rock ‘n’ roll, hence punk. Unlike most punk bands, Costello could write great songs with catchy lyrics, and with the Clovers, they could play the songs well. I had quite a few of the songs stick in my head and bubble up throughout the day. You could see Costello was going to be someone pretty important because he had what some people like to call “it.” A song called Mystery Dance is on the album, and its just a minute and a half long, but it’s got more packed into it than anything on the Guided By Voices album that still haunts me. I’m excited to check out more Costello as the 1,001 list continues. My favorite songs on the album are Mystery Dance, Welcome To the Working Week, Sneaky Feelings, Less Than Zero, and probably the best song is Watching the Detectives. It’s mostly a reggae song, and I dislike reggae, so you know it must be good. But truly, all the tracks are good, as it's just good old rock ‘n’ roll with catchy hooks and great lyrics. This album was a real treat after GBV and Frank.

Man, I really dug this album. This album is composed of what some people might call “baby-making music.” On this album, Bobby Womack is telling you about how the love of a good woman is everything in a man’s life and how the love of a bad woman is still pretty damn good in a man’s life, but at some point, you’ve got to get the hell out. The Poet came out in 1981. Baby-making music, or good old-fashioned R&B, was not popular. We were in the dying days of disco and R&B was more dance music. Not that you can’t dance to Bobby Womack music, because Stand Up had me taking a break to boogie at my desk. The Poet is full of that classic music where Bobby is almost talking straight to the listener, imparting his worldly advice. Like Bobby had been at the top, he’d had the money, the fame, the women, but what he really wanted was that foxy soulmate that would keep layin’ her love on him. Besides being full of great R&B, some of the songs veer off course a bit. Just My Imagination isn’t the Just My Imagination you’ve heard from the Temptations or the Rolling Stones. This is a song written by Womack using the same title, but there is a steel guitar used throughout that makes the song sound like a country song. It’s weird, but it’s a good song. It’s almost a haunting song. Then you get to a song called Stand Up that is pure disco goodness. Stand up, ‘cause you can’t sit down. And you can’t. This song could be a hit today. It’s pure boogie fuel. I’ll admit, I’ve had a few dogs this past week in the 1,001 list and I’m not sure if I love this album because it’s broken me out of a rough patch or if it’s really a must hear album. I’m going to say it’s a little of both. The Poet is a great example of the dying days of classic R&B music that was used for dancing or for fu….um, loving. Do yourself a favor, when you’re looking to make things hot for your special friend or you just want to boogie, throw on The Poet and let Bobby talk you into something fun.

I had never heard of the band Shack. I had no idea what I was in for, but I was pleasantly surprised. Shack could be described as Britpop. In fact, Shack is a Liverpool band formed by two brothers Mick and John Head and ended up getting signed to Noel Gallagher’s label. So, it doesn't get more Britpop than that. Before becoming a part of Gallagher’s label, the band released three albums and Fable was their third release. The band had actually broken up before their second album came out. They thought a fire had destroyed the master tapes and then Mick Head got hooked on heroin and the band broke up. Someone then tracked down a DAT with the album was recovered. Their second album was released and the band reformed to record H.M.S. Fable. Didn't the whole thing seem doomed from the start? So H.M.S. Fable comes out and makes a bit of a splash in England making the top 25 albums chart, getting good reviews and inevitably making the 1,001 Albums You Must Hear Before You Die. It sounds exactly what you’d think it sounds like when you find out it’s Britpop, which isn't a bad thing. I think the album is good, I just don't have the affinity in my heart for Britpop. The song Pull Together would be a huge hit today, I think. The song Captain’s Table is like an old-time sea shanty about the singer’s time aboard the H.M.S. Fable. There isn’t a bad song on the whole album. I think the album a grower and when I’m getting a new album to listen to each day, I don’t have much time to give an album a dozen listens. If I were making a list of albums you need to hear before you die, I’m not sure this would make the cut. I think it’s a shame the band had so much bad luck in its time together. They eventually released one more album, then the drummer died and they broke up. If you’re a fan of Oasis and Blur, and you’ve never heard of Shack, this is going to really be satisfying.

I remember when this album came out. I was in 6th grade, I think and Fight For Your Right was everywhere. I guess by that point I’d heard some rap, but this was kind of heavy metal mixed with rap? It was just weird, but loud and catchy. Plus, it was white dudes doing rap? White dudes that used to be a hardcore punk band? Though I didn’t find that out until much later, probably when I heard Gratitude. “These guys play instruments?” Today, Licensed To Ill sounds very basic, at least for how far hip-hop has come/ Though, I kind of think hip-hop has actually regressed today to a simpler style than even used on Licensed To Ill. But I digress. License To Ill now sounds like what it was supposed to be, as I'm older and hopefully smarter. It's a parody, an over the top rap album by morons. Unfortunately, as with most satire or parody, a lot of the Beastie Boys’ fans didn’t realize it. They were creating an army of frat boy losers who took them seriously. Don’t forget, people, as a rule, are dumb. Again, I digress. As a 12-year-old kid hearing this, I didin’t know if I liked it or not. It was music kind of. It was other people’s music kind of thrown together over a beat, with, at that time, pretty middling rapping. It wasn’t until the Beastie Boys broke away from Def-Jam, the label that paid them, and toned down the frat boy mentality, that they became some of the best MCs in rap. However, this is a very fun record. These songs will make you smile, like Girls, No Sleep Til Brooklyn and Brass Monkey. Just great party music. I didn’t even realize it until I was sitting at work with a smile on my face and I was chair dancing at my desk. Plus the groove for Paul Revere goes hard. As for this being a must hear album before you die? I’d say it is. It was the biggest thing in music the year it came out. I mean, they toured with Madonna on her Virgin Tour. Though that little partnership ended as you would expect. You also get to hear early Rick Rubin production. Rubin, of course, would go on to produce at least one of your favorite albums. My favorite Red Hot Chilli Peppers’ album is Blood, Sugar, Sex, Magik, which was Rubin. If you’re a youngster who has never experienced the Beastie Boys, I know this album will sound crude to your ears, but after listening to this last night, it spurred me on to listen to their follow-up, Paul’s Boutique, which is probably my favorite Beastie record. The further you go down their discography, you notice how they matured and grew from frat boys to wise old dudes that still knew how to make goofy, yet well-crafted bars, as the kids say.

It always seemed weird to me that Neil Young would join Crosby, Stills and Nash after they already had a brilliant debut album and were one of the biggest groups at the time. Also, it kind of seemed like three of the four in the group wanted to be solo artists anyway. Young went on to become the biggest individual star of the group. But when the Lord blesses you with a win on a three-leg parlay, you don’t question why you deserve it. This album has songs that I imagine would be among that generation’s all-time bangers. You’ve got Carry On, Teach Your Children, Woodstock and Our House. You have heard all those songs. You might not know it was CSN&Y, but they’re recognizable. And another song, Almost Cut My Hair, gets played a bit on classic rock stations. It's my theme song right now as I've not had my haircut in maybe a year? It's unruly. All four played an integral part in the band and all wrote songs for the album and all got a chance to sing lead on a song. Stills is very underrated as a guitar hero. He plays incredible leads and solos throughout this album and Young… Well, when it comes to guitar, Neil’s gonna Neil. But, Young’s guitar polaying has one thing going for it that’s lacking in a lot guitarists, a signature sound. You know a Neil Young solo when you hear it. However, the voices, or the blending of their voices, is what brings everyone to the party. They sing like angels, and lyrically, the songs hit all the right spots. New love, lost love, sad love and letting your freak flag fly. There was a time in my youth when I would have thought this music was lame and anyone who listened to it was just an old square. I still have a regretful flashback about the time I told a dude who was kind enough to drive me and my idiot friends to see ZZ Top that CSN&Y sucked as he was playing it on his tape deck. What a little a-hole I was. Now, I’m the old square who loves this album. So, you should listen to this album before you go to bed tonight, much less before you die.

Now we’re getting somewhere. Sepultura is a heavy metal band from Brazil who were formed in 1984, right in my wheelhouse. Except I never really listened to them. When they became huge, I was still a high schooler who had to pay around $20 for a CD. By that time, I was already getting a new CD just about every week, so I had to be really sure about what I was buying. Although there were some mysteries bought along the way, you know, those CDs you bought just because the cover looked cool. But I digress. Sepultura means grave in Portuguese, so that should tell you where the band is coming from. They have very dark and political lyrics, kind of like Slayer or Megadeth. Their music is a bit more like Slayer, very fast, heavy, full of blast beats. Singer/guitarist Max Cavalera had a singing delivery very reminiscent of Tom Araya of Slayer. But Sepultura also has a bit of a groove like Pantera. So, that sounds great, doesn’t it? And they are. But back in the day, I still had issues with the screaming vocal delivery. I never got into Slayer because of Araya’s vocals….and the whole Satanic thing freaked me out too. After seeing their set at Louder Than Life in Louisville, I wish I had gotten into Slayer. Great Odin's raven! I listened to Arise yesterday while watching the NFL RedZone and it was a delight. This album is chock full of riffs and pretty poignant lyrics that could have been written today. I’m sorry I didn’t get into them when I was in high school. I mean, they would have really scared the adults in my life. Which is kind of what a young teenage punk wants, right? Sepultura's sixth album was called Roots, with a song called Roots Bloody Roots, which I really love. I remember sitting in the parking lot of Bob’s IGA one afternoon with Roots Bloody Roots cranked, windows down, and people giving me the stink eye. Good times. Arise was the first album the band had money to record, so they were able to experiment a bit more and take their time with the recording. Arise and the next two albums would cement Sepultura as one of the biggest metal bands in the world. There have been member changes and things every band goes through over the years, but a version of Sepultura is still out there crushing skulls today. If you’re a fan of heavy metal, extreme metal, or just Slayer, you will no doubt enjoy Speultura’s Arise.

Typically, double albums are a type of ego-driven project by an artist or band that believes their fans want more from them with every new album. What those artists don’t realize is that you always want to leave your fans wanting more. You don’t want to give them reasons to dislike those extra songs on the album or to feel like the double album is more for the band than the fans. There might be one case where a double album might have been better than two separate albums, and that’s with Metallica’s Load and Reload, but I digress. Elton John’s Goodbye Yellow Brick Road is a perfect double album. Every song is a banger. The album flows with a loose concept of nostalgia for the past, and every few songs, you get a new musical style, it seems. Plus, the album is loaded with singles that you've already heard, you just didn't know it. Elton John is a musical genius, and his writing partner Bernie Taupin may be one of the world’s best poets/lyricists. Put them together and you have some of the greatest songs ever created. Just on this album alone, you have Saturday Night’s Alright for Fighting, Bennie & The Jets, Candle In the Wind, and the title track, which I think is vastly underrated. Plus, the album kicks off with one of the hardest rocking songs John ever released, Funeral For a Friend/Love Lies Bleeding. Incredible stuff that I hadn’t heard until my brother told me, “You’ve got to hear this.” It was embarrassing that I didn't know it before Dustin showed me. I don’t have to tell you how good this album is, it’s got accolades out the ying yang, but I can tell you it’s one of the most beautiful and brilliant rock/pop records ever made. You’ll feel good listening to it, and you’ll find yourself singing some of the songs when you aren’t listening to it. I mean, Roy Rogers is such a great song and you’ll only hear it when you listen to the album. Before bed or while you’re winding down for bed, put this on and drift off to dreams of Captain Fantastic and the Brwon Dirt Cowboy.

U2 were just becoming U2 when I was a kid. By 1987, when Joshua Tree came out, I had discovered Van Halen, ZZ Top, just good old classic rock, so I didn’t have time for new rock like U2. I need songs with riffs and guitar wankery. But I remember all the hoopla about Joshua Tree. It was all over mainstream magazines and radio. Still, it didn’t appeal to me at that time. Just young and dumb and full of.....beans. Then I stole my older brother’s cassette tape of U2’s Achtung Baby in 1991 and I finally got it. I figured out that U2 was a great rock band and the best rock band in the world for a long time. It was the songs, the lyrics, the guitar sounds from the Edge, the way Bono belted out his lyrics, the rhythm section made up of the other dudes…..I know them, just let me Google a recipe first…Yeah! Larry Mullin Jr. and Adam Clayton. Those guys are good, too. I’m joking, but that is a tight rhythm section, and it allowed the Edge to experiment with his guitar. The first four songs on Joshua Tree are reason enough to think Joshua Tree is one of the greatest albums ever put out. It starts with Where the Streets Have No Name, then I Still Haven’t Found What I’m Looking For, then With or Without You and then Bullet the Blue Sky. What?!? The most amazing thing about Joshua Tree was that, around this time, rock was still in its new wave/post punk time period. What was selling records was keyboards and synths, and beats. U2 wanted to put out a rock album, and they succeeded in recording music that can’t be easily placed in the 80’s. It’s evergreen rock. Which is hard to create as everyone wants to follow the trends or maybe edge closer to what's popular to sell records. This was the album that made U2 stadium rockers, and it’s easy to hear why. All the songs probably sound amazing in a huge stadium setting, as most are stadium anthems. There’s a reason why U2 was known for a long while as the world’s best rock ‘n’ roll band, it’s because they were. Plus, the opening couple of minutes of Where the Streets Have No Name give me that feeling. You know, that feeling that overwhelms you and you think, "Holy crap, am I getting ready to cry?" It's impactful music, which is a blessing because most music is cotton candy, here for a short time and then forgotten about. I’m sure this won’t be the only U2 album on the 1,001 list, but if they’re half as good as Joshua Tree, I’m in for a real treat

Oh man, I’m an Ice-T fan from way back! I have kind of been lying to you all, saying I was a metalhead in my younger years and that any other music was lame to me. Well….There was the gangster rap phase from my middle school years into high school years. It's weird to say, but I was introduced to NWA and 2 Live Crew through church. Told you it was weird. It wasn’t in church, but on a trip with our church youth group. Several of us were in the car of a high schooler who had their license and NWA and 2 Live Crew blasting. Above everything, we thought it was funny. We’d never heard these kinds of words said in music. Most of us had only ever heard Run DMC. We didn't even realize we were listening to two genres of rap, NWA being gangsta rap and with 2 Live Crew that Miami bass sound. I must have bought Ice T’s album called Power by that time, and I remember loving it. Ice T’s voice sounded cool. Even back then, for me, if the “vocals” sounded cool, I was in. None of us country white boys understood what the rappers were talking about. Didn’t have any clue that some, or all, of the stuff they were talking about was real. It was almost like they were war reporters in Vietnam or the Iragi’s skirmishes. After just listening to the Beastie Boys’ License To Ill a few days ago, O.G. is leaps and bounds above it when it comes to rapping and the music. Plus, where the Beastie Boys were just making up stories, Ice-T is rapping about his life in gangs, his influences, people he knows, censorship, how being a famous rapper aint' all it's cracked up to be. The rapping is tight, the lyrics are compelling and the beats for the time are killer. The album is basically Ice T’s bonafides as being the first gangster rapper and if he isn’t, he’s at least the first one to make it big. As a special treat, he even includes a song from his metal band Body Count on this album. Body Count rocks hard. I remember buying their debut album with the Cop Killer song on it that caused all the controversy. Body Count is pretty underrated as a metal band and they still put music out. If you’re a rap fan and have never heard Ice-T and think he’s just an actor, you need to hear this album. It brings back memories of a simpler time, really. Ice-T really does prove he's the Original Gangster with this record.

I kind of don’t know what to do with this album. I really dig it, but is it important? Astrud Gilberto's becoming famous is an amazing story. She went with her musician father to the U.S. to act as his interpreter because he only spoke Portuguese. He’d been invited to record an album. At one point, they wanted English lyrics sung on a song called The Girl From Ipanema and boom, Astrud became a global superstar. You may think you’ve never heard the song, but you’ve heard the song. Anyway, she went on to record several albums, of which Beach Samba was one. The album came out in 1967 and really didn’t make a splash. In fact, one review said it was one of Gilberto’s “less impressive albums.” So, here we are, listening to this album in 2025, and truth be told, I love samba and bossa nova music. It’s the groove. I listened to Henry Mancini’s Mr. Lucky Goes Latin for months on repeat. It’s just good stuff. So, as I listen to Astrud, I think I’ve taught myself to chair samba, but I’m not sure I’d say you have to hear this album before you die. Now, Mr. Lucky Goes Latin? Yes, listen to it. Especially if you’re a fan of The Big Lebowski or a certain Seinfeld episode featuring the bro or the manssiere as some may call it. There is a song called, You Didn’t Have To Be So Nice, on Beach Samaba that Astrud sings with a little girl, which is just about the cutest thing you’ll ever hear. The rest of the songs are good. So if you like The Girl From Ipanema, you’ll love Beach Samba. Also, if you’re looking to switch up your makeout music, except for the duet with the little girl, the rest of the music is prime Latin baby-making music.

Much like a lot of the entries on the 1,001 albums to hear before you die, I was late getting into Rush. There was a time when Geddy Lee’s voice irritated me so much, I couldn’t enjoy the music. I guess after some loud concerts and several decades of listening to headphones/earbuds, my hearing eroded enough that I learned to appreciate Lee’s voice. Beyond the uniquely high voice, there wasn’t anything not to like about Rush. Great songs, weird lyrics, Alex Lifeson’s guitar work was impeccable and drummer Neil Peart was a god among men. Hell, old Neil even wrote the bulk, if not all, of the lyrics to Rush songs when he joined the band. By the time Moving Pictures came around Rush was at the height of their powers. I’m not sure they were exactly radio superstars, but they sure as heck fire became radio superstars with the rise of classic rock stations. I’d swear I’d heard 5-6 of the songs on Moving Pictures on the radio. I know Tom Sawyer and Limelight were classic rock royalty, but Red Barchetta and the Camera’s Eye both sounded so familiar. What’s funny is, Vital Signs was released as a single, but I have no memory of hearing it on the radio. I have a hard time listing my favorite song from the album because it's full of my favorite all-time Rush songs. Tom Sawyer and Limelight get all the pub, but I love Red Bachetta as an album track. It’s about a future where cars are illegal, but the singer has an uncle who keeps a red barchetta at a farm in the country and the singer goes out there sometimes just to drive and feel the wind in his hair. I mean, it's a great story, and a story quickly becoming reality, it seems. Limelight is about Peart’s trying to adjust from going to a “nobody” to being a “somebody.” While Tom Sawyer just makes me think of “The Modern Day Warrior” Kerry Von Erich. The album has an 80’s feel to it. Rush subtly introduces synths to their music without you even really noticing. They were great at changing their sound from album to album just enough that you wouldn’t really notice for like three albums. If you’re a rock fan and have never heard Rush, this album is a great start. If you’re not a rock fan but want to see why Rush fans are insane, this album is a great start. It’s arguably a perfect album with no filler. As for hearing it before you die, you should listen to it before I finish typing this.

Another band I have never heard or heard of, I believe, one song did kind of sound familiar. The Fall is like new-wave/post-punk but in the 90s. It’s almost like everyone moved on to grunge, but these guys liked ’80s rock. Musically, they are pretty good. They have the same kind of guitars as U2 circa the Joshua Tree. There’s just one problem: they’ve got a lead singer singing a different song over the top of the music. This could be another case where i’m a square who can’t pick up on the cool, but lead singer, Mark E. Smith, is barely singing and a lot of times he’s making noises. It’s very weird and quite frustrating at first. But then as you keep listening, the music is good good, you kind of get used to the sounds that are supposed to be lyrics. One of the reviews referred to The Fall’s music as unmarketable and I agree. The lead singer, Smith, was the founding member, so he wasn’t going to fire himself. So, the band was kind of stuck making music that only people doing the 1,001 Albums challenge would even hear. Some of the albums on the 1,001 list have me wondering if the author is kind of playing pranks on the readers every so often. The Fall’s The Infotainment Scan is not dog crap, but it’s not good either. I will say, the song Paranoia Man in Cheap Sh*t Room is pretty good. It’s the one I thought I’d heard before, but I have no idea where. Certainly, it wasn’t on the radio back then, maybe it was on 120 Minutes on MTV, but I rarely watched that. I was, of course, a Headbanger’s Ball guy.

For someone who prides himself on listening to a bunch of different artists and kinds of music, I feel like I start everyone of these out with, I never really go into so and so until later. So, I never got into Bowie until the last 20 years or so. I always kind of thought he was weird and I just didn’t get it. Then I listened to Ziggy Stardust and it hit me, Bowie is a genius. Then I listened to Hunky Dory and I was like Bowie is a genius. Then I heard Life on Mars? and I just wanted to cry it was so good. I still get that way everytime I hear it. I keptlistening to Bowie and even his most experiemtnal stuff was so interesting. Bowie is a genius and while Ziggy Stardust might not be his greatest album, though it’s in the running, it’s arguably his most recognized character. Is it character? Or just his most recognizable version of Bowie? That’s what made Bowie a genius. He had a sound, a Bowieness throughout his career, but almost every album sounded different thant the last. And instead of his fans calling him a sellout or saying he should just stick with this kind of music or that kind of music, they just took whatever Bowie offered up. Zigg Stardust is kind of a concept album or rock opera, though it didn’t start that way. It’s about a messiah who comes to earth to save the world only to get so caught up in fame and fortune he alienates his fans and his band before dying on stage. Truthfully, I never paid much attention to the “story” because the songs were so good. Bowie was Ziggy, of course, and The Spiders from Mars were made up of Trevor Bolder on bass, Mick Woodmansey on drums, and one of Bowie’s longtime collaborators Mick Ronson on guitar. Ronson is one of my favorite guitar players. His guitar work on the album is so good. It’s not guitar wankery, all the licks he provides go to help the song. It’s a shame we lost him to cancer before he could truly become one of the most legendary guitarists ever, even though, in my eyes he did. I’m not good at whatever this is that I’ve been doing now for 88 albums. I can only tell you this album is definitely a must hear as there is no song that’s not great. I feel this could be released today and be a hit, especially Starman, Moonage Daydream and Ziggy Stardust, songs I’m quite positive you’ve heard somewhere before. I loved taking this trip down memory lane. If you do nothing after reading this, just remember Mick Ronson is a great guitarist and search his stuff out.

Okay, so I’d heard of Jurassic 5 and thought they were hip-hop and I was right. I didn’t think I knew any of their music until I got to the song What’s Golden. And I guess for a summer or a year, that song was everywhere and it’s a banging track. Jurassic 5 are labeled as an alternative hip-hop group, whatever that means. I guess it means they aren’t rapping about killing people and smacking hos. Jurassic 5 is more old school and fun. But that doesn’t mean they don’t have political songs or songs about society. And like most songs from the past, because people are idiots, the problems they were writing about are still happening today. These dudes come out of L.A., the birthplace of gangsta rap, but they went another way. And there isn’t anything wrong with gangsta rap, at one time it was most of what I listened to, but you get tired of some things after a while. Jurassic 5 uses samples combined with live instruments for their music and the songs have a great flow. They reminded me of later Beastie Boys work. Their voices are perfect for rap. They kind of reminded me of Arabian Prince’s voice, at least one of them. Arabian Prince wasn't a great rapper and he didn’t become a star, but he had a voice that couldn’t be confused with anyone else. He was on the N.W.A. and the Posse album. I actually really dug this album. I found myself bobbing my head and chair dancing. During a later listen, when reading the lyrics, I could tell these guys were craftsmen. The rhymes and words fit together perfectly, no hitches, nothing out of sorts, very unique. Plus, the album has some cool guest spots from Big Daddy Kane, Kool Keith and Nelly Furtado. Where is Nelly Furtado these days? Is she married? Would she like to be married? Anyway, if you’re a fan of hip-hop and haven’t heard Jurassic 5, this is probably the best example of their style. Is this an album to hear before you die? Probably not, but I sure dug the hell out it and I know hip-hop fans will enjoy it more than me.

Exile in Guyville was a bit of a phenomenon back in 1993. I remember all the buzz and seeing all the reviews, and it making the best of lists that year. I never listened to it, one because I broke my leg that summer, so I wasn’t out and about that much, and also because you paid for music back then. I only had so much disposable income for music, so Liz Phair, while buzzy and intriguing, didn’t qualify for purchase to me. I’d always heard the Exile in Guyville was kind of her answer to the Rolling Stones’ Exile on Main St., which is, arguably, the Stones’ best album. I’m more partial to Sticky Fingers, but Exile on Main St. is incredible. Turns out, it wasn’t a song-by-song reply, but Phair did want the songs to kind of mimic the pacing of Exile on Main St. Exile in Guyville is a double album, and for a debut, that’s ballsy, but Phair was ballsy. She was recording music in her bedroom, making her own cassette mix tapes and handing them out around Chicago. Then, a miracle happens, she gets signed to Matador Records. The music is very indie rock, almost what you’d think of as indie rock. Very raw, not overly produced. The songs really shine, though. Phair doesn’t have a great voice, but she sounds authentic, which really makes you feel the emotion in the songs. There were moments when I was listening to this album and I thought, "This could have been a Stones’ song." The album is about a young woman making her way through her 20’s in 1990’s Chicago. Which I wouldn’t have been able to understand as an 18-year-old kid with a broken leg. Now, as a 50-something old man, I still barely understand, but Phair conveys the joy, the sadness, the heartbreak so well, you get what she went through in that time. I think this is an important album maybe more for women to listen to, but I really enjoyed it. There are some great songs on here, though, as with most double albums, you wonder if it couldn’t have been a little better with a few songs cut. Whether it’s a must-listen before you die, I’m not sure, but if you grew up when it exploded on the scene like I did, check it out. I'm glad I did. I see what the hub-bub was about.

When I saw my next album was from Crowded House, I immediately thought, "Well, here come the synths and drum machines." Only, that’s not what came. What came instead was a really good pop album that wasn’t meant to be a Crowded House album. In fact, even during the heart of the 80s, Crowded House wasn’t a synth-heavy new wave band, I just painted with a broad stroke. During a break from Crowded House, Neil Finn, the band leader, began writing songs with his brother Tim Finn. The songs were to be used for an album from the Finn Brothers.However, when Crowded House got together to write a new album, their record label didn’t like what they came up with. Neil asked Tim if Crowded House could use the Finn Brothers’ songs. Tim said yes, but only if he joined the band. Or, something like that, it seems memories are a bit fuzzy on how Tim got in the band. It seems reasonable to want to be a part of a touring act that was pretty big at the time. So, Crowded House used the Finn Brothers’ songs and made a good album, which most of the world loved, but not so much the U.S. The album came out in 1991, and the U.S. was into hair metal and rap, and this album is neither of these genres. Also, Wood Face is not a very appealing title. Woodface isn’t an '80s-sounding album. It could've been put out today and be a great album. The songs are just good pop songs with hooks that will have you singing along. But the best thing about the songs is the harmonies of the Finn brothers. If you squint your ears really hard, you almost hear Lennon and McCartney on a few of the songs. The album went to #1 in Australia, #2 in New Zealand, #6 in the United Kingdom, but it only went to #82 in the U.S. It was a top 20 album in most other European countries. But, as we all know, you can’t be huge if you aren’t huge in the U.S. So Crowded House continued on as a huge band in Europe, but they were looked at as a one-hit wonder in the U.S. Wood Face is a fine album and has some great songs, but it didn’t blow me away. I doubt I’ll be listening to it again. But, if you like good, solid pop music with real instruments, this is an album you’ll dig.

Ugh. All I’ve ever heard is effusive praise for the band Wilco and the album Yankee Hotel Foxtrot and at least through the first 3 songs of the album, I wondered if I was taking crazy pills. I have never been more disappointed in an album on the 1,001 list thus far. I was excited about hearing this album because of all the accolades and praise it's gotten since it came out. Then I finally hear it, and it was just a lot of noise and a depressed dude throwing his lamentations out into the ether. Am I just not getting it? By track 4, War on War, it at least sounded kind of like what I know a song might sound like, but it had a machine making weird noises throughout, so it kind of was a good song mixed with nails on a chalkboard. I’m legit shook. What have people been talking about all these years? I thought Wilco was kind of a country/rock indie band. They sound more like a Japanese noise rock band to me. Track 5 is Jesus Etc. and it sounds great. What happened in the first 4 songs? Just start the album here and let’s have a good time. Oh, I see it’s being described as art rock in Wikipedia, which means people who think they’re smart will talk about how much they like the album while regular lunkheads like me will be like, “No, it’s crap.” Why am I so angry? It’s almost funny how angry I am at this moment. I can see now why their record label at the time didn’t want to release the album. But, Wilco bought back the album and changed labels, put it out, and the album, according to wikipedia, “is widely regarded as one of the greatest albums of the 2000s and of all time.” As we go further into the album, it sounds less like a group of children trying to learn music on the fly and instead, there are actual songs here. I think if they’d spread out the experimental crap throughout the album, it might have been better. You know the old adage, a spoonful of sugar helps the medicine go down? This was like a spoonful of crap will make the medicine taste like crap. The rest of the album was alright, if not depressing. However, the first four songs really infuriated me. I attempted to listen to the album again last night, but football was on and even a crappy, and I mean crappy, NFL game was still better than this album. If this is your favorite album, don’t pay any attention to what I’ve said, because maybe I’m an idiot. I can see why it’s on the 1,001 albums to hear before you die list, just to find out what all the praise and love for this album was all about. If you find out, let me know.

I was around when the Strokes were the big new band on the scene, the band that was changing rock. I was more of a Kings of Leon fan, due to them being Southern mostly, but they certainly put out great music. I always looked at the Strokes as a band of pretty, rich boys that wouldn’t last the test of time. That kind of came to fruition, in a way. While the Kings of Leon were producing steady content, the Strokes had hiatuses and side projects. The KOL had rehab stints that curtailed their output as well. In other words, in 2001, I wasn’t impressed with the Strokes, though this was still the time when you had to invest in your music by buying CDs. I was already buying KOL CDs, so the Strokes lost out. I was also annoyed by the lead singer, Julian Casablancas, always having an effect on his voice. Like he was singing through a Hardee’s drive-thru microphone. It just irked me. But, surprisingly, it never once bothered me today. Now, having listened to Is This It? in 2025, I loved it. It’s good jangly rock that’s fun to listen to or even dance to. As I listened to songs like Last Nite, I realized that this was essentially an updated version of rock, the likes of what Tom Petty was making in the early 80’s. It’s not hair metal with guitar wankery, it’s just solid riffs with cool hooks to get you singing along. What else could you ask for? The album also changed music at the time, once Is This It? came out, probably before it came out, you had all these Strokes clones popping up, especially out of the New York scene. It was kind of another scene like 70s New York with punk and new wave. In fact, there’s a great oral history about this 2000's scene and the music called Meet Me In the Bathroom by Lizzy Goodman. It’s a great companion piece with Please Kill Me: An Uncensored Oral History of Punk by Legs McNeil, focusing on the punk and new wave movement in New York in the 70's. Again, I digress. After listening to Is This It? a few times, I’ll admit, I missed the boat and should have been on this band at the time. Luckily, I have the 1,001 albums list to correct my ways. Though after slogging through Wilco, I wonder if I’d have liked anything put in my earholes? Check out Is This It? It’s just cool rock that makes for a good time. The music is good and the lyrics are kind of a time capsule of what was going on in that music scene at the time. So, you can kind of relive it without all the sex and drugs.

I recently read the book called Please Kill Me, which was an oral history of the punk and new wave scene in America and London in the 1970s. While I read it, I listened to the music from that time period, so I’ve heard this album several times. Am I the only one who does that? Listen to music when you read? I swear it helped me study back in college. Though I had a psychology teacher who was blown away that I was able to do so. I really enjoy reading books about music, either a single band or certain period of time, that way I can listen to the music of the band or time period. I read the exhaustive Bill Monroe biography by Tom Ewing, and by the end, I could tell you the name of a Bill Monroe song within the first few seconds of hearing it, but I am digressing way too much. Television is a hard band to nail down. They’re punk, new wave, art rock, but mostly they’re just really fun and interesting. They are great musicians who make the hard sound simple. I loved this album so much, I put it on my 1,001 albums playlist to revisit later and saved several songs to a playlist. And I’m not a big singles guy. I like albums, I’m old. Friction, Marquee Moon, Elevation and Prove It were highlights for me on this album, but there are no bad songs. Plus, I think the songs hold up well today. This album gave birth to the Strokes and Kings of Leon and that whole movement that came out of New York in the 2000s. And I think if it had come out in the 200s it would have been a crusher. IYou can also hear Talking Heads-like music on here, which would be reasonable since they were both active at the same time. Also, oddly, the song Elevation, at least in the beginning, sounds very familiar to Pink Floyd’s Pigs (Three Different Ones), like almost the exact tune. The reason it’s odd is that the albums came out within one month of each other. So, it's not likely either heard the others' music before releasing their albums. Digression.... I highly recommend this album, especially if you’re a fan of the Strokes or the Talking Heads. It’s just good new waveish rock that inspired bands in its day and even into today.

The Kinks - Something Else by the Kinks I love the Kinks. It’s a shame they didn’t make it big. They had the chops. They’re songs are unique with smart and often funny lyrics. They didn’t mind poking fun at themselves as well as everyone else. The Kinks recorded Something Else after Face to Face, which I also listened to as part of the 1,001 Albums You Must Hear Before You Die. Face to Face began the Kinks' change from the more straight ahead rock blues type of music that was popular at the time, to a more baroque pop and music hall inspired music, at least that’s what Wikipedia told me. To me, the Kinks moved away from the You Really Got Me kind of songs to a more Beatles-esque, more interesting and experimental type of rock music at the time. The Kinks still rocked, to be sure, and they still wanted to be really gotten, but they wanted to tell you more about themselves before they got got. Or something like that. Something Else had two hits, one was Waterloo Sunset and the other was actually supposed to be a solo single from Dave Davies, lead guitarist and sometimes lead vocalist of the band. It was called Death of a Clown and was released as a single under Dave Davies' name, but later it came out on Something Else by the Kinks. Something Else didn’t make a huge splash when it came out because the two singles had been out for months before the album was released. It’s weird because the '50s and '60s were more about selling singles, which in turn would sell the albums. That’s why you’d sometimes get an album with three really great songs and a bunch of filler. With no more singles to push the album, it kind of died on the vine. Also, the Kinks were banned from the U.S. for any number of reasons, so they couldn’t tour the U.S. to help record sales. However, Something Else has, in hindsight, been looked at as one of the Kinks' best albums. I really dug this album. It’s a perfect companion piece for Face to Face. The songs sound so different from other stuff from this time period and the lyrics are at times both beautiful and hilarious. I think you should look up the lyrics for both Face to Face and Something Else by the Kinks and carve out some time to enjoy a nice evening of great music. I really love that I’m able to dig into these Kinks albums and I hope they keep coming.

Now we’re getting into an album I know about, though, by the time I began listening to it, it wasn’t a six-track, 40-minute album. I was listening to the four-hour extended version. For my money, The Who Live at Leeds is the best live rock album ever. I know some might want to say KISS Alive is the best, and it’s good, but it’s been known for quite a while that KISS went in and did a lot of touchups, if not re-recorded whole songs. I’m not complaining, because it’s a killer album. But Live at Leeds is at the height of the Who’s power, right before they get into the Who’s Next era. They're so ferocious on this album, they sound like a punk band. The Who had just released Tommy, which I expect will be on the 1,001 list, and were touring in support of the album. They were looking for a way to follow up Tommy and thought a live record might be the thing. They made some recordings during the Tommy tour, but didn’t really like how they’d turned out. So two shows were booked, one at the University of Leeds and the other at Hull, specifically to record for a double live album, including a live version of Tommy. The show at Hull issues recording John Entwistle's bass. Pete Townsend, guitarist and leader of the band, also decided not to go with a double album. So, the Leeds show would have to do. And it did well. Of the six songs on the album, three were covers and three were songs written by the Who. The three covers are so good, they might as well be songs by the Who at this point. Young Man Blues, Summertime Blues and Shakin’ All Over are the covers and the Who rip through them like they want to destroy their instruments. The Who originals were Substitute, My Generation and Magic Bus. I’ll admit, none of these are my favorite songs by the Who, but these live versions just explode into your earholes. My Generation is also a medley containing snippets from Tommy. I watched a documentary on Keith Moon and how he was the most unorthodox drummer ever in rock music and at one point, someone said of the Who, it was like all four members were playing lead on the songs. Each one of them was doing their own thing during their songs, but it all seemed to come together beautifully or explosively. Live at Leeds helps you hear that, especially with John Entwistle on bass. His playing is just amazing. Now, this was first released as a six song album, but as we move forward through time, reissues pop up with more songs and more songs until we finally get the Live at Leeds extended version. The extended version contained all the songs at the Leeds show and the Hull show. To correct the bad recording of Entwistle's bass at the Hull show, engineers used the bass from the Leeds shows to replace what was needed. I could write about this album for another hour, but I’d just be regurgitating what you’d find on Wikipedia if I haven’t already done that. All I can say is the Who are on my Mt. Rushmore of rock bands and I love this album so much, in all of its iterations. The original album is a tight 40 minutes of incredible songs, but the four-hour version is just as amazing. You must hear this before you die.

Sly and the Family Stone is another band I felt I missed out on. One reason was that they were at their height before I was born, but it was only a few years ago that I listened to some of their music. I’m not sure I listened to There’s a Riot Goin’ On, but this is an album that most people think invented funk and it only took heroin, cocaine and PCP to create it. And it sounds like it. Sly Stone was way into drugs at this point in the band’s career. It’s believed he was using drugs because the fame kind of freaked him out a bit and what was going on socially at the time was causing him anxiety. He made great, happy, pop music, but some of his Black Panther Party friends thought he should be recording more music to help the cause of Black America at the close of the 60s. There’s a Riot Goin' On was much darker with serious lyrics than previous albums. Was Sly Stone kind of bending to being more social or was it just the drugs? I think the funk created by heroin as it was lower and slower than past albums. Sly Stone, by this time, 1970, had built himself a home studio in his house and he enjoyed heroin so much, he put a bed in the studio and recorded his vocals lying in bed. Incredible. It fills you with wonder at the creative genius he was, but also fills you with sadness at how much of a grip drugs had on this man. Sly Stone played most of the instruments on the album as well. Members of the Family Stone were used more for overdubs. Sly Stone also called in hired guns to help record the album, including Billy Preston, Ike Turner and Bobby Womack. So, there was a lot of chaos going on, and I don’t mean C.H.A.O.S., but that was going on too. Anyway, you can tell by the first song you're in for a doozy as it’s called Luv & Haight, which I assume is meant as Haight-Ashbury, the area that birthed the countrculture in the 60s in San Francisco. Though, at this time, that spirit was dead or dying. Here is the chorus for Luv & Haight: Feel so good inside myself, don't want to move, Feel so good inside myself, don't need to move. There are other lyrics on the album about drugs and more songs about social issues, making this album the band’s most political. The title track, There’s a Riot Goin’ On is just four seconds of silence. In explaining the song, Sly Stone said, “I felt there should be no riots.” Byond all the drugs and social issues, the album produced a number 1 single, Familiy Affair, of which only one member of the Family Stone was included in the recording. The album was also the number one album in the country when it came out. The album also used some early drum machines, which later inspired hip-hop. George Clinton said this album is what inspired him to create Parliament and Funkadelic. The album also pushed jazz artists like Miles Davis and Herbie Hancock to move toward a jazz-funk sound. Like James Brown, some of the songs are more like chants than lyrics, but the music is so good. It may take you a listen or two to really see how amazing this album is. It wasn’t as widely praised when it was released. I'm sure the change in style threw people for a loop, but over time, it’s gotten its due. I’m glad it was on the 1,001 list so I could discover the music and the story behind the album.

I took a few days off from the 1,001 list for what I thought was going to be a fun weekend in South Carolina. That did not happen and this weekend was a perfect storm of suck. So, I don’t know what else to do, but distract myself by writing about the Fly or Die album by N.E.R.D. You know N.E.R.D., right? It’s Pharrell Williams’s attempt at being a rock star, even though he technically was one, I guess. The group was also known as the Neptunes when producing hip-hop. N.E.R.D. is composed of Pharrell and his producing partner Chad Hugo. Fly or Die is their second album and for this album, the dudes decided to learn how to play the instruments needed to make the album rather than hire a band like they did for their first album. I respect that. I didn’t put too much faith in this album being good. I figured it would be a lot of crappy rap rock that was a thing in the early 2000s. This album came out in 2004. The first few songs were kind of generic, I guess. It sounded like what a band that just realized they like rock music would sound like if they started a band and had just learned to play their instruments. The music sounded great production-wise, but the songs weren’t blowing me away. However, as I continued listening, I kind of got into the songs. This isn’t just the same old rap rock. Pharell is a really good rock singer and his voice meshes well with a rock groove. Plus, I heard some Led Zeppelin and the Beatles in there. Some of these songs are pretty interesting. The group also used their connections to bring in some special guests like Questlove and Lenny Kravitz to pitch in on some of the songs. I know some people don’t like Lenny, but I’m a fan from way back, Are You Gonna Go My Way is my jam. Also, did you notice right away that Are You Gonna Go My Way seemed to be written from the perspective of Jesus Christ? I thought that as soon as I heard it. Just looked it up and it’s true. But I digress. Some of the songs are big, over-the-top, kind of theatrical productions, but I’m a fan of musicals, so it works for me. I got Big Elf vibes from the songs Thrasher and Maybe. If you don’t know Big Elf, find them now and listen to Cheat the Gallows or Into the Maelstrom. Both are great, fun albums. While the songs on Fly or Die mostly sound good, a lot of the lyrics aren’t written from the perspective of Christ but from the perspective of a teenager. Which seems weird because Pharrell and Hugo were both around 30 when they wrote this album. Nevertheless, Fly or Die wasn’t an album I thought, “Thank God I got to hear this!” It was more, oh, that was a bit unexpected. If you like Pharell’s music, but want to hear it more with a rock groove behind him, then you’ll probably dig this.

I’ve got COVID for the second time since it was invented by whichever conspiracy theory you believe. It’s not been too bad, more annoying than anything, but the last couple of nights it’s messed with my sleep. So, I’m tired and listening to rap from 1989 isn’t something that I’m excited to do, but I did, as I was assigned the Jungle Brothers album, Done By the Force of Nature. I’m not sure if I heard of the Junble Brothers or not. I vaguely remember the name, but at this time in my life, I was into 2 Live Crew and N.W.A. The Jungle Brothers are less outrageously violent or into sex, so it didn’t interest me as a teenager in 1989. I will say, the beats, grooves, and samples used on the album harken back to the early days of New York hip-hop, so it was definitely a nostalgic trip into time. The rapping was more fun and less serious, though there were some serious societal themes discussed, but mostly, as Rolling Stone described the album, the Jungle Brothers have a more “positive, spiritual vibe.” The problem with a lot of the hip-hop albums from this time is that by this point in hisotry, we’ve heard it all. Now, is this better than 99% of the stuff put out today? Yes. You can understand the lyrics, and the beats are easy to dance to. For hip-hop scholars and histroains, this is a must listen. For those of you looking for some new party jams, you could do a lot worse than this album. But, as for it being a must listen, you need not add it to your bucket list. I’m going to go take a nap.

I’d heard of Bell and Sebastian before, but I’m not sure if I’d ever listened to any songs from the band. They’re described as indie pop and they do have a very poppy sound. One of the first things I noticed was that there are points in the opening track, The Stars of Track and Field, which reminded me of Brown-Eyed Girl by Van Morrison. So, if you enjoy that song, then I think you’d like Belle and Sebastian. If You’re Feeling Sinister, which is a great album title, was the second album from the band. It seems as soon as it was released, it was heralded as one of the best albums of the year and decade. It came out in 1996, so at this time, I was still deep into metal and the grunge movement. This wouldn’t have even gotten on my radar. Plus, we were still buying music back then. I mean, please, buying music? How old-fashioned. Listening to it now, I’m quite blown away at how great this album is. It reminds me of The Kinks circa Face to Face or Something Else. The band employs a wide variety of musical instruments and the songs are very well-crafted. As you go through the album, suddenly a saxophone pops up and you notice that it’s the first time you’ve heard a sax, but it’s not out of place. It works. The lyrics are really beautiful and are almost always telling a story. It reminds me of Simon and Garfunkel that way. The whole album sounds like it was influenced by the 60s folk music revival, but the songs are poppier. While the lyrics can be very gloomy, the music is so beautiful that it puts a smile on your face. Plus, I'm gloomy right now. If You’re Feeling Sinister is an album that, if you didn’t know it came out in 1996, you’d be hard pressed to nail its release date down. I can see how it went on to inspire the indie pop music movement in the 2000s. Belle and Sebastian found their people, and those people went on to make their own version of this music. I don’t know if it’s because I’m in a down mood, but I really, really dug this album. I’m glad I heard before I moved on outta here. I think you’ll dig it too.

I remember The Prodigy blowing up in the 90s with Firestarter, Breathe, and the funny, but controversial, Smack My B**ch Up. As singles on MTV, I could enjoy their music about once every couple of days. After listening to The Prodigy’s Music For A Jilted Generation, I’ve discovered it’s not my generation. The Prodigy described their music as electronic punk and I think that’s an apt description. This album didn’t have the songs I remember from MTV, but it was an important album at the time in the United Kingdom and for rave music. Around this time in the 90s, the U.K. passed a law called The Criminal Justice Act, which was supposed to help stop all the illegal, unlicensed raves tin that country. The Prodigy had been looked at as being a part of that scene. Music For a Jilted Generation was written as a response to the new law, which can clearly be heard in the song, Their Law, as the refrain “F**k ‘em and their law” can be heard throughout. I like that, but later The Prodigy kind of backed away from their rabblerousing ways, saying the album wasn’t meant to be a political statement. That's not punk rock. So, what about the music? You know me, I love a good song you can dance to. These songs sound more like what you’d listen to if you were on methamphetamines. Most of the music just made me anxious and feel jumpy. I’m just not a rave guy, I guess. There were four singles released off the album, and I recognized one of them called, One Love. I’m sure I heard a couple of the others, but I wasn’t a raver in those days, so they could have slipped past me. If you like The Prodigy’s other stuff or you’re a raver from way back, I’m sure this album is an all-timer for you. As for me, I could have made it two lifetimes without hearing this frenetic, jumble of beats and weird sounds.

Now this is an album you must hear before you die. An album that produced six singles and sold around 18 million albums. It was the soundtrack for that period in time. You couldn’t go anywhere and not hear an Oasis song on the radio, on MTV, in a store, or in a passing vehicle. You couldn’t go anywhere and not hear how much it seemed the Gallagher brothers, Liam, the lead singer, and Noel, the guitarist/songwriter, hated each other. I’m not sure what the deal was with the Gallagher brothers. Was Liam a little upset that he was essentially regurgitating his brother's words, and he was just looked at as a typical a-hole lead singer? Was Noel upset that his brother, as the frontman, was getting all the attention? All the magazine covers? Did Noel's writing and singing Don’t Look Back in Anger push Liam to the breaking point? Make Liam feel like maybe he wasn’t as important to the band anymore? Were they both just drunk idiots? Whatever the case, their feuding produced great music. It happens like that sometimes. I remember reading that early on in the Who Roger Daltrey and Pete Townsend were fighting all the time. Their band was like Oasis, Daltrey the face and voice of the Who, and Townsend the songwriter supplying Daltrey with what to say. Daltrey said he had to realize he was Pete’s voice, and he had to stop fighting Pete and just be the musical instrument for Townsend to put his lyrics out to the masses. Or something like that. I guess maybe Liam never could do that. Or who cares? (What’s the Story) Morning Glory is a beautiful album, and I could gush about how it truly brings that moment in time flooding back to my memory. The carefree days as a teeneager with no worries or cares who just gets to hang out, do nothing, and listen to music all day. I didn’t buy this CD when it came out. Hell, you could hear most of it on the radio. I was still a metalhead, but you couldn’t escape this album. As I got older and music got….um, free-er, I played one of the Guitar Hero/Rock Band games, and one of the songs on it was Don’t Look Back in Anger and I was blown away. I truly think it’s one of the best songs from the '90s, maybe of all time. It just really hits me everytime I hear it. Plus, Noel’s singing and guitar work are incredible. I’ve written a bunch of nothing, so I’ll end with this. If you want to hear what the world was listening to in late 1995 through 1996, it’s this album. It’s brilliant and though some may think it’s over-rated, when a song or album has been woven into your memories as a certain period of time, it’s a classic. (What’s the Story)Morning Glory certainly does that for me.

This one was new to me. I’d never heard of Bebel Gilberto or the album Tanto Tempo, but it is fun to say 'tanto tempo,' 'tanto tempo.' Anyway, for some reason, I was excited about venturing into this album completely blind….or would that be deaf? I’ve never heard it before, so I guess I’m heading into this album deaf. Anyway, it’s a bossa nova album, and I’ve discovered, I really enjoy bossa nova. It just kind of hypnotizes you. Plus, you add a sexy female voice, and it’s straight-up baby-making music. The album was produced by a Serbian named Suba, who died during a fire at the studio. He was rescuing the just-recorded Tanto Tempo album from the fire and died of smoke inhalation. That’s wild. It made me wonder, is there an album you’d be willing to die for to save? Like if Back In Black by AC/DC was in a fire and you could save it, but you would likely die trying, would you do it? For Back In Black? I’d probably do it. AC/DC made so little great music after that, that’s it’s their high mark with Brian Johnson….but I digress. Anyway, Tanto Tempo is pretty dang good. The vocals are in English sometimes and, I assume, Portuguese other times. As I’m just an idiot, I don’t know how to break down the intricacies of the samba or bossa nova music, but I can tell you, I really dug this album. Near the end of the album, there are two songs, one titled Lonely and the other titled Bananeira, and they sound like they could be in a 1970s movie about a sexy jewel thief being pursued by a private investigator with a shady past. It’s just brilliant stuff. With all that being said, did I need to hear this album? Need is a strong word. I’m glad I did because I really enjoyed it. If you like to samba and listen to bossa nova, then you’ll probably dig this too.

I thought I’d heard of this band. I thought it was a punk band. I kind of still think it's a punk band, but I’m confused. This is an album where I can easily dismiss it as trash and turn it off, or I can become obsessed with it and call it genius. Suicide is composed of vocalist Alan Vega and instrumentalist Martin Rev. Exactly what instruments Rev plays is not easily decipherable. However, these guys showed that you don’t need two guitarists, a bassist, a drummer, and a vocalist to form a band. Suicide paved the way for the White Stripes, the Black Keys, and the Kills, all two-man, or woman bands. The band formed in the 1970s and put out their self-titled album in 1977. The United Kingdom loved it, of course, and the USA hated it. The UK was always into cool music, ahead of its time. And Suicide were definitely ahead of their time. The album is just 32 minutes long and is made up of just beats and a kind of grinding keyborad or synth. I can see why the USA didn’t get it because I don’t get it, but I realize there’s something there. Like much of punk music at the time, the band was kind of just trying to play the rock and roll they grew up on, which was the Big Bopper, Jerry Lee Lewis, Elvis Presley, and the early days of rock and roll. Vega even seems to be emulating Gene Vincent, of Be-Bop-A-Lula fame, on vocals.. The songs all have a similar vibe, except for Frankie Teardrop, which is about a poor factory worker who loses his job and decides to kill his family and himself. The song then follows Frankie into hell. It’s a really kind of terrifying song. Supposedly, Rev made up the lyrics on the spot after he was read a story from the newspaper about a real-life murder-suicide. The 1970s were dark, my friends, but I love them. I think that era produced some of the best art ever, especially when it comes to music and movies. I can see where Suicide would go on to inspire other, more successful bands, but they are an acquired taste. I’m glad I got to experience this album, but it won’t be going into my regular rotation. But check out the song Frankie Teardrop, it’s unlike any song you’ve ever heard.

’ve heard of Leonard Cohen my whole life, but it seems like he’s been old my whole life. As a kid, you don’t want to listen to old people's music, even though classic rock is nothing but old people's music. I’m sure I’ve heard Cohen songs because they’re a got to for movies and tv shows. But I’ve never sat down and listened to a full album. Songs of Leonard Cohen is a full album, his first album, and it's kind of what I expected, but better. It really reminded me of Simon & Garfunkel and the folk movement of the 60's, the spare instrumentation and the song lyrics being more poetry than song lyrics. Each song tells a story, with some easier to decipher than others. For instance, The Stranger Song is about a time he met two women on the street who needed a place to stay and invited them to his aprtment/room. Sounds like a Penthouse letter, doesn’t it? While the two women slept in his bed, he sat and wrote The Stranger Song. It was finished by the time they woke up. Besides the incredible poetry in his songs, a lot of the music is acoustic guitars in a folk style of the 60s. In fact, Cohen actually wanted the instrumentation to be even more sparse, but the producer used strings and drums on several tracks. Cohen was furious when he heard drums. He wanted no drums used on this album, but I think it all works. If there weren’t other sounds to break up the acoustic guitars, I think the songs would get monotonous. I think this is an album you need to hear before you die. If you’re in the right mood, I can see this being your favorite new album. In fact, this is Fall music to me. It sounds like something you’d put on with a hot toddy and a roaring fire and watch the leaves or snow fall. If you’ve never heard Cohen before, this is a great place to start.

I was a huge Red Hot Chili Peppers fan, going back to the Mother’s Milk album. Blood Sugar Sex Magik is one of my all-time favorite albums. I listened to it so much I can barely stand it now. I just got burned out. Which may explain why, when Californication came out, I wasn’t really into the Peps anymore. One reason I may have fallen out of love with them is that their guitarist, John Frusciante, left the band after fame started messing with his head. The group added Dave Navarro, of Jane’s Addiction, to the band and recorded One Hot Minute. At the time, One Hot Minute was panned by critics, and even I didn’t like it upon first listen. Navarro brought more of a metal edge to the Peps, which I should have liked, but the funk was pushed to the back burner. But, after re-listening to One Hot Minute, I can see now it’s a really good album; it’s just different. So, after a scary battle with heroin addiction, Frusciante rejoined the Peps for Californication. But I didn’t rejoin the band. I was an idiot. As I sat at my desk yesterday, I was blown away at how great, yes, great, this album was. It made me realize that all the members are talented, but Frusicante is the special sauce because his guitar and backing vocals shine throughout the album. Plus, this album wasn’t just nonsense and funk….Well, with Anthony Kiedis as a lyricist, you’ll always get nonsense, but the album has more Under the Bridge than Sir Psycho Sexy. Of course, the genius, Rick Rubin, produced the album, who also produced Blood Sugar Sex Magik. It was like the band was, legit, back together again. The album has 15 songs and is almost an hour long, but as it finished, I was a little disappointed there wasn’t more. Frusciante’s guitar playing in places melts your face and reminds me of Jimi Hendrix. Kiedis does an admirable job sounding a lot like Glenn Danzig on several songs and the rhythm section of Flea and Chad Smith may be the best in rock. I’m adding this album to my regular rotation, and it’s made me want to go back and listen to BSSM and One Hot Minute again. I’m not sure I’m back in love with the Peps as they stand today, but I definitely love the late 90s/early 2000s version. As I finish this, I’m listening to the song Porcelain, and it’s so beautiful and heartbreaking. Kiedis wrote it about a young mother he met at an AA meeting. She was living at a YWCA with her baby and struggling badly with drug addiction. Just an incredible song. Maybe I should give Keidis a little more credit with his lyrics.

I remember hearing The Message either on the radio or TV, I think. This would have been in 1982, and I would have been around 8 years old. I feel like I’ve known the lyrics, “Don’t push me ‘cause I’m close to the edge. I’m tryin’ not to lose my head" since birth. When I saw my next album was The Message, I was interested in seeing what the other songs sounded like. I was very surprised, or maybe shocked is the word. The song The Message is one of the first rap songs that wasn’t just about bragging. It was about how hard it was in the streets for young black men. It was a social message you could dance to. It’s definitely the father of gangsta rap. But The Message was track seven on an eight song album. Track one was She’s Fresh which starts out with a horn section leading into a dance song with no rapping. What? It sounds like a reject from the Commodores album that had Brickhouse on it. It’s not bad, but it definitely isn’t The Message. Hmmmm. Track two is a song called It’s Nasty which is the music from Mariah Carey’s Fantasy, but they’re rapping about how they’re freaks and you better lock up your daughters and wives. Okay, now we’re back on track. You have to grade these early '80s rap songs on a curve because we’ve heard so much since then, but it’s a solid track. Nothing great, but if you needed a dance track, it would work in a pinch. Now, track three is a song called Scorpio and it’s a banger. This was one of the best early electro tracks. It gives off Rock It vibes from Herbie Hancock. It’s a very cool track and I imagine it really blew some folks away in 1982. The album goes on to devolve into mediocre singing and clunky rapping. There’s a tribute song to Stevie Wonder called Dreamin' that is so cringe, you have to hear it to believe. The singing is not good and the lyrics sound like they were written by a middle schooler who had a month to come up with a song, but waited until the night before to start working on it. Whoa Stevie, that's why (that's why) when we dream of you (dreamin') We believe anything that you see Whoa, whoa, whoa, that's why (that's why) it's because of you (of you) We would like your dreams (our dreams) turn to reality (reality) Later in the song, someone asks Grandmaster Flash if he thinks they’ll ever meet Stevie. I can picture Flash patting the little guy on the head and saying, Maybe one day, sport. Maybe one day. So once you get through the junk, you get to The Message and it just kills all the other tracks. You can feel the grittiness and realness in the lyrics. The other songs seemed try-hard from a group of kids who were trying their best to make music that was popular 10-15 years before 1982. What I think happened is, the group released The Message as a single, it blew up, and they needed an album. So, they cobbled together seven other songs and put out a rushed album just to get some product out in the stores. You might think I’m going to tell you to skip the album titled The Message and just listen to the song titled The Message, but no. The album is so crazy and weird and not good. I think you need to hear it. I may even go back and listen it it from time to time when I need a good laugh. Oh! I almost forgot! They have a Jesus song on the album called You Are. It's so weird to have a song about loving Jesus after a song called It's Nasty which brags about how freaky they are in bed. It's like they asked all their friends from different genres to submit a bad song to put on the album. I guess they thought a rising tide floats all boats. I'm beginning to really turn around on this album as I listen to it again. Forget everything I said before this and listen to The Message, the album, by Grandmaster Flash and the Furious Five.

Holy moly! This was Janelle Monae’s debut album. Wow! I would have sworn this was her third album, maybe. Dang, she came out on fire. The ArchAndroid album is a concept album and part of Monae’s homage to the movie Metropolis. It’s just full of pop, hip-hop, rock, funk, jazz, and just about anything else you want. It’s a hugely ambitious album and Monae pulls it off. I remember hearing about this album when it came out in 2010, so I checked it out and was blown away then. When I think about Monae, the word Prince comes to mind, as in, I think she has the same genius that Prince had. Monae said her influences for the album were movie soundtracks, David Bowie, Stevie Wonder and Outkast. I can also hear The Beatles in here, too. You can plainly hear each one of those influences sprinkled throughout the album. In addition, the song Locked Inside sounded to me like it could have been influenced by Super Mario Bros. and the Outrun video games. Beyond her music, her lyrics are incredible as well. On this album she’s telling a larger story with the songs and lyrics. The story is about an android sent back in time to free people from a secret society that suppresses freedom and love. Beyond the different genres of music and brilliant lyrics, the album offers, you can dance to it. Tightrope is a song that certainly doesn’t suppress your freedom to dance in your chair at your desk. It’s a banger, as the kids say. I’d hate to say this was Monae’s best album so far in her career. She’s had some really great music; Dirty Computer was incredible. But The ArchAndroid is the album in which it all came together for Monae. I’d call it a classic, and I think you should hear it before you die. And I bet you listen to it more than once after you do hear it.

I mean, do I really need to say anything about Thriller? Is it a little uncomfortable to listen to songs like Human Nature and P.Y.T.? Yes. Is The Girl Is Mine still a horrible duet with Paul McCartney? Yes. Did Sir Paul get the best duet between them on his album in Say, Say, Say? Yes. Is it the greatest set of songs ever recorded in the history of the world? Yes. Except for The Girl Is Mine, of course, but just one song out of nine being a crapper was amazing for 1983 and would be a miracle for today. I was eight when Thriller came out. I had no MTV, but you could catch videos on Friday Night Videos or on the odd TV show. So I’m not sure how I found out about Thriller. It must have been the radio. Whereever I found out about Thriller, it was the first real album I got. Unless you county The Chipmunks as a real album. I imagine mom bought it for me and my brother. I listened to that album until the needle wore through it. Our older brother Jeff made fun of us for listening to Thriller as he had graduated into hard rock being as he was in high school. I later snuck onto his room and listened to Cheap Trick’s Dream Police, which led me into the ways of hard rock and metal. But I still love Thriller. Anyway, Thriller was everywhere. Beat It was a phenomenon. When it started to get old, Billie Jean came out, then Thriller and on and on. Seven singles were released from this album and the record company didn’t even want to put out Thriller as a single because they looked at it as a novelty song. The musicianship is top notch as all the great session guys were called in to contribute. Several of those session guys went on to form ToTo an underrated band in the Yacht Rock genre, which I’m sure they’d all hate. There isn't much to say about this album, except for it's a must hear and I can’t imagine anyone not finding at least one song, if not a half dozen, that you have to add to your playlist. For us old heads, listening to this brings back a ton of great memories of just being a kid with no responsibilities except for listening to Thriller that day. Good times.

Nope. I can’t do it. It was all I could do to finish one listen. I have no idea why this album is on the list. They’re known for their “sloppy” and “laid back” sound, which is why it sounds like they aren’t really taking the music seriously. If they don't care so much about their own music, why should I? The actual music is alright, I guess. It’s that kind of Sublime-type music, neo-hippie music that was popular for a couple of years in the 1990s. But G. Love, the vocalist, is one of the more annoying “singers” I’ve ever heard. I’m not sure he doesn’t have a speech impediment, which is why I won’t go all in on his terribleness. It could be I just don’t get it, but seeing as how we haven’t heard of old G. Love in the last 30 years, I’m probably closer to how everyone feels about this album. I can only assume the author of 1,001 Albums You Must Hear Before You Die is a relative of G. Love or was really into this band as an impressionable teenager. They stink, like bad. Stink, stank, stunk. Don’t listen to this album, not even as a joke or to make fun of it.

I’d heard the name Cowboy Junkies forever, but never once listened to any of their music. I just assumed they were some alternative rock or punk band. I was close. The Cowboy Junkies are an alternative country band. They’re the kind of band that’s too country for country radio, but they’re also too country for rock radio. The Tinrity Session was the second album from the group and it was recorded in the Holy Church of the Trinity in Toronto. The album is made up of cover songs and originals. There are several songs on the album you’ve heard, but probably not by the Cowboy Junkies. I’m So Lonesome I Could Cry, Sweet Jane, Walkin’ After Midnight, and Working On A Building are a few of the covers. The band’s most well-known song is the cover of Sweet Jane, a Velvet Underground song. The Cowboy Junkies could have also been named the Timmins Family Band because most of the musicians on The Trinity Session were Timmins. In fact, to get permission to record in the still active church, the group said they were a Chrisitan group called the Timmins Family Singers and they were recording a Christmas album. So, they didn't really lie to church officials. The album is really good, but it’s how they recorded it that fascinates me. The band recorded the album using one stereo mic straight to tape, with the band circled around the mic. The band began the sessions by recording the simplest songs with the fewest instruments first, then moved on to songs with the more complicated arrangements later. Lead singer Margo Timmins’ vocals were recorded through a PA system the group found at the church. According to the album sleeve, the album was not mixed, overdubbed, or edited in any way. The bulk of the album was recorded in one day in the church, with one last song, Mining For Gold, sung by Margo Timmins a capella, was recorded a few days later. That’s badass. The album came out in 1988, and I'm sure it couldn't find a home on the radio or MTV. But good music always finds a way. I remember hearing about the Cowboy Junkies most of my life. Margo Timmins' voice is the highlight of the album. You can’t help but focus on it and feel her every emotion. The musicianship is well done, but the arrangements are fairly sparse, which is not a bad thing. I think those who are alt-country fans or someone who loves country music would enjoy this album. For those who don’t care for what’s considered country music today, they would find this album quite refreshing. As for an album you have to hear before you die? I’ll say yes. This was essentially recorded in one day on one mic in a historic church in Toronto. You can really picture the band huddled around the mic playing these beautiful songs.

Another band I’ve heard of my whole life, it seems, but have only heard a couple of songs. For a long time, I got the Smiths and the Cure confused. I thought both were just the same kind of goth rock, and I still think that’s true, but I know which witch is which. Anyway, the Smiths popped up in my wheelhouse of radio rock and pop, the 1980s. However, I don’t think they were as big in the U.S. as they were in Europe. Even though the Smiths sounded like all the bands on the radio at the time, I don’t remember hearing their songs. At least not like say, Duran Duran, a band I still love. Meat Is Murder is the second album from the Smiths and the one that kind of broke them. It’s full of what the critics would call indie rock for that time or post-punk. Guitarist Johnny Marr wrote all the music, and this cat named Morrissey wrote all the lyrics, and by all accounts was quite a bit of an a-hole. Though if you were a fan of the Smiths, he was your kind of a-hole. The Smiths' music was a melancholy type of pop/rock. Morrissey’s lyrics were dark, but you could sing along. There are songs about love, death, how hard it is to be a teenager, and how meat is murder. Yes, Morrissey was a vegetarian, and he wanted to convert everyone to his side. He kind of makes a compelling argument on the song Meat Is Murder. I found it very hard to listen to, but I still had chili for lunch. When the album came out, some critics loved it and some hated it, which I think is a good thing. If you can’t get universal praise, but you can get people to just feel anything, it was an achievement. They released just one single from this album called, That Joke Isn’t Funny Anymore, which got to 49 on the UK singles chart, but didn’t chart in the U.S. I really liked this album, but I am a product of the 1980s and new wave/post-punk. I think they would have fit in perfectly on U.S. radio, but they just never broke here. Maybe it was Morrissey’s attitude, maybe they just got lost in the shuffle, maybe they didn't release enough singles, who knows? Whatever the case, the Smiths went on to become a huge cult favorite that ended up going mainstream over a period of time. I think this is an album you need to hear just to see what we in the States missed out on with the Smiths. Though if you were a goth back then, you already knew how good they were and are pissed metalheads like me are now fans. I get it, I do, but the heart wants what the heart wants, brother.

I didn’t mess with the Arcade Fire when they came on the scene. I was just trying to get myself extricated from the nu metal scene, so Arcade Fire to me were part of the new folk rock revival that was lame. Turns out I was lame because I’ve heard two Arcade Fire albums now and loved both. I listened to Arcade Fire's second album, Neon Bible, and for a second album, it’s huge. Usually, you think of a sophomore slump when it comes to music or even sports, but Arcade Fire went into the studio with a plan and the plan was bigger and more. The album was recorded in a renovated church, while their first album was recorded in an attic, essentially. The album was written by the Arcade Fire leader, Win Butler. Butler was born in the U.S., but had moved to and lived in Canada for a long period. After touring the U.S. in support of their debut album, Butler wrote Neon Bible as a kind of outsider’s view of what was going on in America at the time, which seemed to be a lot of fake religious people and scammers. As I listened to the album, it seemed the songs just kind of got bigger and bigger as it went on. More instruments were added, and the songwriting was more bombastic. At the end of the album, I felt a little blown away, shellshocked. Like that was a lot from an indie band from Canada, but even by the time Neon Bible came out, I feel like Arcade Fire had wrested that era’s crown away from Mumford & Sons, who were also huge then. Reviews for the album were mostly glowing, though some felt the production was a little overblown, and I get that. This is a big album. Win Butler was swinging for the fences. I feel like he hit a home run. I listened to the album that came after this called The Suburbs, and I don’t feel like I had the same kind of reaction for it as I did to Neon Bible. I remember liking The Suburbs, but this album is more over the top, more Bruce Springsteen/Jim Steinman-like. If you aren’t familiar with Arcade Fire, I’d recommend starting with this album, at least of the two that I’ve heard. I assume their debut album, Funeral, will be on this list as well, but Neon Bible has everything you want in a rock album. It’s got the bombastic pompaucity and the nice introspective moments too. The musicality is off the charts as in one song you’ll get a horn section, in another a hurdy gurdy and another a symphony. I think I’m officially an Arcade Fire fan now.

Never heard any music from this guy, yes, it seems it's a guy who wrote, produced and played most of the instruments on The Hour of the Bewilderbeast, his debut album. It’s pretty amazing. It’s kind of really over-the-top indie rock. I think it would be more at home in the 70s, as it has a mix of folk and rock and a bit of Kinks-like pop. The album won the Mercury Prize in 2000, which is the best album prize in the United Kingdom. It’s perfect Fall weather listening. It’s not the happiest music, but it won’t have you drowning in your tears. And you know me, I like instrumentation, and this album has orchestras, different kinds of keys and percussion. It’s just a well-constructed album of poppy indie rock. It reminded me of some of the songs on Sufjan Stevens' Illinois album that I loved earlier this year. Why am I not over the moon about The Hour of the Bewilderbeast? I don’t know. It could be I’m just not feeling it. Lately I’ve found myself listening more to podcasts than music. The whole reason I started this journey was to listen to more music, especially stuff I’ve never experienced before. I love music, so it’s a mystery even to me why I don’t listen to more of it. But I digress. This album was released to critical acclaim, and there weren’t really any knocks against it. I vaguely remember hearing something about it, but in 2000, I was too busy stealing….I mean, downloading music legally, to mess with it. I don’t know that Badly Drawn Boy will make my usual playlist, but I’m glad to have experienced one man’s outpouring of emotion and creativity.

Man, I’ve been thinking about pausing whatever this is that I'm doing with listening to the 1,001 Albums You Must Hear Before You Die. I’m finding it hard to keep up with the pace of a new album every day and listening to it at least once or twice a day. The holiday season is coming up, so there’s a little more added to everyone’s plates, and truthfully, I just wasn’t hearing anything that really inspired me to continue. I’ve listened to a lot of good stuff, but I’ve not heard something that blew me away or really intrigued me lately. Then came Goldfrapp’s Felt Mountain. Goldfrapp is an electronic music duo, except they do things in a way that doesn’t seem electronic. Their debut album, Felt Mountain, sounds weird. It’s inspired by cabaret, pop, folk, and electronic music. It also sounds like it could have been made in the 1960s. I’d describe this album's music as cinematic. I can see how these songs could have been written for a movie. I’m not sure if you have a certain sound in your head for what a James Bond movie theme song sounds like, but I do, and this album is it. The lyrics are at times nonsensical, and at times, the singer, Allison Goldfrapp, has a digital effect on her voice that creates an unsettling wail or distortion that is just creepy. There’s something about a female singer’s vocals over the top of a mamba beat or a bed of strings. Sexy AF. You know me, I’m the same old g, and I dislike most electronic music, but Goldfrapp makes the bleeps and bloops work in between the actual music. I’m listening to the album again as I write this, and I can barely write because I just want to listen. I’m listening to the song Pilots, which has a nice orchestra playing with a shot of horns during the chorus, and then at points in the song, Allison Goldfrapp’s voice is encased in an electronic effect to produce an operatic type wail which sounds so beautiful and sad at the same time. Yes, speaking of sad, this album isn’t a shiny, happy album. It’s full of melancholia. You don’t feel fired up or ready to take on the day after hearing it. It’s, if not, a sad album, it’s definitely a chill album. I can’t write anymore about this album other than to say, I really wish you’d check it out. In a sea of mediocrity, this album set me right again and buoyed my spirit of adventure in listening to 1,001 albums.

I’m not sure I’d heard the name Nina Simone until she passed away in 2003. Then I realized why she was almost a holy figure in the black community not just because of her music, but her civil rights activism. Simone really jumped into singing songs of protest and civil rights once she left her American record label and was signed by Phillips Records, a Dutch company. I can imagine her American record label in the late 50s and early 60’s did not want many songs like Four Women to be released on their label. Four Women tells the story of four black women, with each representing a stereotype of black women in America. It’s a powerful song, though it was banned on several radio stations, with some thinking the song was racist. Wild Is the Wind is a compilation album of songs leftover from Simone’s recording sessions for Phillips Records in 1965 and 1966. It wasn’t a huge, best-selling album at the time. It’s one of those albums that needs time to breathe. However, in recent times, Pitchfork rated it the fifth best album of the 1960s and Paste declared it the eighth best album ever. The album isn’t just civil rights, it’s also full of jazzy, bluesy love songs and songs of heartbreak. Much of the music is piano driven, as Simone herself was a great pianist. Some songs sound like it’s just her and her piano, like on Black Is the Color of My True Love’s Hair, while on other songs, just a couple of instruments can sound like an orchestra. I wasn't a huge fan of Simone’s voice in the past, but I really dug it on here. She can sing, she’s talented, but you can feel the emotion in her voice. It makes much of the album feel sad and full of passion. It really changed my thinking on her voice. Wild Is the Wind is one of my favorite songs on the album. I recently listened to David Bowie’s cover version of the song, and it’s brilliant too, but Simone’s classical piano work really shines on this track. I was excited about listening to this album when it popped up, and I wasn’t disappointed. I think it’s great, and I hope there are more of Simone’s albums on the 1,001 Albums You Must Hear Before You Die, because I’m here for it.

I had no idea who Mike Ladd was and was unaware of the music he was creating. Turns out he’s a rapper. A French rapper at that. I’m not the biggest hip-hop fan, even for “real” music, it’s never really been about the lyrics for me. I’m more about the music or the groove, or the riff. So, hip-hop is pretty low on my list of music to listen to for pleasure. As I was preparing my dishes for the church Thanksgiving potluck, I listened to the album. I got a sense of it. Did I finish it? One might say, no. I might say I was really busy this weekend, so give me a break. However, what I did hear of the album was fine. It wasn’t something that blew me away. The opening track 5000 Miles West of the Future has a killer groove. EL-P, of Run the Jewels, pops up on track 5, Bladerunners. I do love me some Run The Jewels. I’m sure a hip-hop head could find much more to like. So, if you're into hip-hop, this album will definitely mean more to you. If you’re not a hip-hop fan, you can live your life never hearing this album and be just fine.

The Germs are important. They only released one album, but they would inspire a thousand bands, including Nirvana and Foo Fighters, mainly because Germs’ guitarist Pat Smear played in both. However, many consider this album to be the first hardcore punk album recorded. This album was also produced by Joan Jett because the band were fans of The Runaways. The band was featured in the incredible documentary by Penelope Spheeris, The Decline of Western Civilization. If you haven’t seen it, check it out. Also, The Decline of Western Civilization Part 2: The Metal Years is amazing too. The history is huge with this album, and I appreciate it. But I just didn’t connect to the music. There were certain songs I really dug, but after eating Thanksgiving potluck, I fell asleep about six songs in. I’m listening to it now, by the way, there are 16 songs on the album, but most are barely two minutes long. I’ve now listened to the whole album and not much has changed. I can appreciate how people could have been inspired to create music after hearing this and how ahead of its time it was. However, it’s just not for me. I grew up in the 70’s and mostly listening to pop radio for the first 9-10 years of life, so I like melody and hooks. While I think it is important for history’s sake, it won’t be going in my permanent playlist.

Now we’re getting to some hip-hop I’m into. I remember when this came out, it was a sensation. I bought it and listened to it about 1,000 times. Once I got it out of my system, I stopped listening, and Outkast split up, even though everyone in their camp was making it seem like it was business as usual at the time. But you could tell just by listening to the double album, things were probably over with Big Boi and Andre 3000, at least as the duo, Outkast. The album was broken up into two albums, one was essentially Big Boi’s full of great hip-hop that made you dance with fun raps. The second half was essentially Andre 3000’s album, which was full of great hip-hop that made you dance and great raps….but also it had great pop music and a jazzy version of My Favorite Things, and a duet with Kelis about Dracula getting married….What? This wasn’t just an album; it was an experience, and I agree it should be something everyone should hear before they die. Even today, this is better and forward-thinking hip-hop than 95% of the dreck that comes out. Both guys were testing the limits of their creativity, maybe Andre 3000 more than Big Boi, but that doesn’t mean Big Boi wasn’t a genius at what he was doing. My only nitpick is that at over two hours, some songs could have been trimmed, which would have only made this a more incredible album. But, maybe we need a few of those lesser songs to bring us back down after hearing bangers like GhettoMusick, The Way You Move, Hey Ya and Prototype. I’m not sure there has ever been a better produced hip-hop album. The music and beats are lush and at times disorienting, but in a good way. Andre 3000 spends quite a bit of his part of the album singing, and he is pretty good. The worst thing about this album is that it’s essentially the last Outkast album. So, for me, while I love revisiting this album, it just makes me think about what could have been. If you haven’t listened to this album, it’s a must.

When I saw this pop up as my album for the day, I just groaned. Not because I hate the album, no, it’s the opposite. I love this album, but I do kind of hate it. Let me explain. I had tried to get into Metallica around the And Justice For All album, but I didn’t like James Hetfield’s singing voice, or more correctly, yelling voice. But I joined the Columbia House CD Club, remember those? You sign up and get like 12 CDs for a penny and then you never buy anything again, or rahter, you never send them money for any CD they send you thereafter. They eventually get tired of coming after you and besides, I was like 14 or 15. Anyway, I happened to get a remastered version of Kill ‘Em All, Metallica's debut album, and I loved it. I then got all the Metallica albums leading up to the Black Album. When the Black Album came out, I drove to Owensboro to WaxWorks and bought it. I think I put it in my CD player and it only left it to go into another CD player. I legit listened to it for forever. It got to the point where it was too much and I had to stop. Then every time I heard a song off the album, I’d cringe, especially Enter Sandman, which is one of the greatest rock songs ever written. I'd just gone too far, got burnt out. Listening to it now, it doesn’t fill me with the same excitement or even nostalgia, but the songs are undeniable, except for The Unforgiven. I never could get into that song. I have no idea why. It’s not because it’s essentially a ballad, because I love Nothing Else Matters and that is a ballad. However, after The Unforgiven, you get Wherever I May Roam, a heavy road anthem. I wanted to talk about people who think Metallica got soft with the Black Album. I don’t think they got soft. I think they got heavier. Many of the songs on the Black Album are almost sludge or doom metal. Slow-moving, heavy arse songs that groove. I mean, were people complaining about And Justice For All being a prog album? It most certainly was. You can’t listen to the title track and not tell me that isn’t a song Dream Theater would love to play. Anyway, the Black Album is great. It may be the best heavy rock record ever made. It definitely had the effect Metallica wanted, it pushed their music out not just to the metalheads but to everyone, for better or for worse. If you haven’t listened to this album, you should. If you hate, or think you hate, heavy rock and metal, this album will open your eyes. Now, my personal favorites on this album that I still love and will listen to? Sad But True, one of the heaviest songs ever; Through the Never, just relentless; The Struggle Within, one of the few songs that could have been on And Justice For All or Master of Puppets. But the whole album is great and if you haven’t heard, you should immediately.

First, the Black Album and now Bon Jovi’s Slippery When Wet. It’s almost the two extremes of hard rock in that era, and I was way into both albums. Slippery When Wet, I had on cassette because CDs weren’t the big thing yet. Plus, they were super expensive. Slippery When Wet was about 3 years before I began to transition over to CDs, but I digress. Bon Jovi became a huge monster at this time because of this album, and it was only their second album. They would go on to become even bigger. I'm listening to this album for the first time in probably 35 years, and I can hear why I was way into it back in middle school. And, as a 51-year-old man, I can look back at my 12-year-old self and say, “What an idiot," well, kind of. Slippery When Wet came out in 1986, and the first single was You Give Love a Bad Name. It was undeniable, and I bought the album almost immediately. Then you discover what may be the best song on the album Wanted Dead or Alive, though Let It Rock is a banger too. As a kid, I’m sure I thought the whole album was great. It was filled with lyrics of rocking and sex, and the hooks were big and the guitars loud. I'm quite certain I thought I was listening to the heaviest of metal at the time. However, as the listens continued, even as a kid, I knew the keyboards and keyboardist David Bryan were goofy as hell. That may be what stopped me from buying the follow-up album, New Jersey. The four singles from this album are easily the best songs on the album: You Give Love a Bad Name, Livin’ on a Prayer, Wanted Dead or Alive and Never Say Goodbye. A few of the songs are just bland filler tracks like Social Disease and Without Love. Songs like those you’d hear on every new hair metal band that popped up two to three years later. However, the album has a second tier of songs that I believe are could have been as good as the singles. Songs like Raise Your Hands, I’d Die For You, and Wild In the Streets. Raise Your Hands is a particularly great jam, though, again, Bryan’s keyboards turn a great rocker into just an okay rocker. I could have sworn that was a single, but Wikipedia would never steer me wrong. So, if you haven’t heard Slippery When Wet, and you want to try to get a feel for what it was like back in 1986 when this juggernaut really exploded on the scene, then Slippery When Wet is your time machine. Honestly, I’m surprised I enjoyed re-listening to it as much as I did, to be honest. Maybe I wasn't an idiot back then after all.

I have to admit that I should have paused this for the holiday weekend, and I might do so after this because I wasn’t into listening to Devendra Banhart while cooking for Thanksgiving. In fact, his music kind of creeped me out a bit. Banhart plays a kind of psychedelic folk music that is basically him playing guitar and singing. Add in that he looks like, or at least at the time of this album, Charles Manson and I was just not into this. I remember when Banhart came on the scene back in the 2000s and he was the new hot, weird, indie darling. I wasn’t into him then, and I’m not into him now. Full disclosure, I didn’t listen to the whole album. That has rarely happened so far on my journey through the 1,001 Albums. This will be short and sweet because I’ve got to bake the dressing and other fixings for second Thanksgiving today. Devendre Banhart is for folk music and Manson lovers, but otherwise, it’s great for Halloween. As for me, I’m out.

I think I’d seen the album cover to In the Court of the Crimson King before I even knew the band King Crimson. The cover is a kind of cartoon face of a man frightened to death or in agony or going crazy. Some may feel that way after listening to King Crimson’s debut album, but for progressive rock fans, it may be their number one album. In the Court of the Crimson King is looked at by many as the first prog album and it certainly sounds like it. I’m no historian, so I can’t tell you if it’s the first, but I do know prog when I hear it. Earlier, I said prog rock, King Crimson isn’t so much rock as they are psychedelic and jazzy with dashes of Jimi Hendrix sprinkled over the top. The opening song, 21st Century Schizoid Man is so big and over the top, you’d think the band was a metal band. While the song features a saxophone, it’s very heavy. The riff is undeniable. I know I heard the main riff before I knew who King Crimson was. In the Court of the Crimson King is a concept album of what, I don’t know. I’m going to get maybe two listens before moving on, so Google it. The album went on to inspire plenty of bands searching for who they were, meaning it spawned a bunch of crappy prog rock bands, but there were plenty of great bands inspired as well. Now, as I said, King Crimson is not metal, though they have metal-like tendencies. They are more jazzy, which I have a love-hate relationship with. I love jazz that doesn’t get too nutty. Meaning, I like jazz when all the instruments are not each playing different songs. King Crimson doesn’t get that nutty, but it does seem at times they all just decided to jam to the point of going off the rails before bringing it back. Overall, the album is fine. I understand it has to be on the list just for the historicalness of it and how it spawned a new genre of rock. As John Cunningham of WhatCulture said about the band, "they threw the bluesy sound of rock at the time out the window. In its place, the group displayed a psychedelic hybrid style composed of acid rock, jazz and classical overtones." So, not a straight-up rock band, but they rock. As with most prog bands and albums, I can appreciate King Crimson, but I don’t think I’ll ever have this in my regualr rotation.

There’s about 2 inches or so of snow on the ground, and I love snow, well, at least until I get tired of it. But living in Kentucky my whole life, I rarely get a chance to get tired of snow because there usually ain’t none! So, I’m a bit more chipper today, plus I just canceled a doctor’s appointment and there’s nothing better to boost your mood than canceling an appointment. And today’s album is the Faces’ A Nod Is As Good As A Wink To A Blind Horse. Hot damn! I love the Faces and I think if lead singer Rod Stewart hadn’t gone off to be a solo artist, and they were able to not drink themselves to death, they’d have been just like the Rolling Stones today. Hell, Faces guitarist Ronnie Wood is a Rolling Stone today. The Faces formed after the lead singer of the Small Faces, Steve Marriott, left to form the underrated band Humble Pie. In steps Rod Stewart and Ronnie Wood of the Jeff Beck Group and the Faces were born. Damn, those first two albums by the Jeff Beck Group with Stewart on vocals and Wood on bass are just gems. But I digress. Anyway, the Faces recorded a couple of albums that didn’t really do much, but then came A Nod Is As Good As A Wink and things blew up. It helped that by this time, Stewart was making a name for himself as a solo artist, which brought fans of his to the group. As an aside, I think Stewart may be the greatest rock ‘n’ roll singer ever. His voice is great on the rockers and great on the sad songs. He’s even good on disco songs and ’80s synth rock songs. Again, I digress. This album contains one of my all-time favorite rock songs, Stay With Me. The guitar riff mixed with Stewart’s snarling vocals just create a badass mood. It’s not very PC, but who cares, it’s rock ‘n’ roll. Beyond the rockers, the Faces’ bassist Ronnie Lane also shines as a vocalist on three songs he wrote, including a song called Debris which is about Lane’s relationship with his father as a child. Perhaps the best thing about the album is that it clocks in around 35 minutes. It gets in and gets out and leaves you wanting more. The first two Faces albums were thought to be a bit bloated, so for this one, they trimmed the fat. My favorite tracks on this album are, obviously, Stay With Me, Ms. Judy’s Farm, Debris, and That’s All You Need. But there are no bad songs on the album. A Wink Is As Good As A Nod is a straight-up 70s blues rock banger, and I’d put it up against any Rolling Stones album that isn’t Sticky Fingers and Exile on Main St., but that’s pretty good. So, if you’ve never heard of the Faces, you’re welcome and Merry Christmas.

’ve run into a stretch of albums I’ve heard before, wth Cream’s Disraeli Gears being one. I went through a bit of an Eric Clapton phase back in the day, and if you have one of those phases, you have to also have a Cream phase. I love the Cream, and I think this might be their best record. This album was the album in which they kind of stopped playing the straight blues and moved into more of the psychedelic rock, though with blueslike tendencies. Also, this album features singing from both Clapton, bassist Jack Bruce and even one song from the wildman Ginger Baker. Baker is arguably a top three rock drummer of all time and quite possibly the most insane rock drummer to have ever lived. I’ve espoused my theory that while Clapton might have been God during this period, once he became a solo artist, he became a mere mortal. I’m not a solo artist Clapton fan. I think most of his output was just mediocre pop crap, but his playing on Disraeli Gears and with the Cream is excellent. The prime example of Clapton being God is Sunshine of Your Love. I mean, come on, the first heavy metal song, right? That riff is undeniable. And also an example of the band stretching its wings into the psychedelic genre. One of my favorite Cream songs is Tales of Brave Ulysses. Another psychedelic slab of goodness. If it were over six minutes long rather than under three, it might be looked upon as progressive rock. The lyrics certainly paint that picture. At heart, I’m a blues man. That’s where all rock and roll originated, well, the blues and country music. Outside Woman Blues certainly fulfills my need for a shot of the blues. Clapton’s guitar stabs in between the verses are exactly what you knew you needed without knowing you needed it. Clapton chose Outside Woman Blues to record so the song’s original writer, Blind Joe Reynolds, could collect the royalties. If true, that’s some good karma for Calpton, who seems to have needed all he could get. I really do dislike him. I realized I haven’t mentioned the greatness that is Strange Brew, another bluesy, psychedelic classic. The song also features Clapton on vocals rather than Bruce, who, up until Disraeli Gears, sang most of the songs. The song just has a groove you can’t deny. So, if you’ve never heard of the Cream, this album is their top lick, in my opinion. Though there really isn’t a bad Cream album, just a matter of taste. This is one album I agree you have to hear before you die, just to hear what Clapton sounded like when he was still good.

This is the second Tim Buckley album that’s been on this list, and I can only imagine the author of 1,001 Albums You Must Hear Before You Die is a Tim Buckley superfan because I just don’t get it. And it’s quite possible I’m not smart enough to see the appeal, or it may be an acquired taste that you just can’t acquire in a few listenings. To me, this album was boring. though I did like the vibraphone which kind of linked all the songs together. But, mostly the songs are slow and more sad sad than happy sad. Buckley’s voice can also become annoying after a while. It seems many people couldn’t understand how he never made it big, but I think it's easy to see. Buckley really couldn’t figure out a lane. He started out as a folk singer, then he dabbled in jazz and experimental music, then he moved on to what is termed as his “sex funk” period, of which Greetings from L.A. is a part. Greetings is also on the 1,001 list and is another Buckely album that I just didn’t find that likeable. Though I did like Greetings more than this album. It’s quite clear I’m not a Tim Buckley fan, maybe I’ll be more of a fan of his son, Jeff Buckley, as I’m sure he’ll be included on the 1,001 list. How could he not be? The author must be a family member. So, if you like jazzy, experimental music by a guy who seems to not know where he wants to land, then you might like this. As for me, I will continue to not get what the deal is with Tim Buckley.

More jazzy bossa nova sounds that always seem to scratch me where I itch. I felt like I’d heard of the names Stan Getz and Charlie Byrd, but I’m old and can’t keep up with what I do know or just think I know. But at least I’m smart enough to admit it. The reason I mention Charlie Byrd is that the tracks on this album were arranged by him after he was introduced to bossa nova in 1961. Stan Getz is the man soloist on the album on the saxophone. Many of you may not know it, but I used to play the sax, though badly, but I could play it. I needed sheet music, I was not a good improviser whatsoever. Perhaps that’s why I dropped the sax and never looked back in 1990-something, but I digress. Turns out Byrd is quite the guitarist and he and Getz make a great team. The music that comes flowing from them just puts you at ease. And being it’s the holiday season, it also feels a bit Christmas-y, especially if you're a fan of the Charlie Brown Christmas special with its incredible jazz soundtrack from the Vince Guaraldi Trio. I’m not an expert in jazz or bossa nova, so I can’t tell you technically why Jazz Samba is great, but I’ve listened to it three times now, and I didn’t make it through Tim Buckley’s Happy Sad once fully. The samba grooves just chill you out, and they are just cool. Plus, there’s no sexier instrument than the sax and guitar. I’m quite certain several babies were made with this jewel on the turntable. If you’re looking for something different to listen to, something that you’ve not really delved into, then this is a good album to explore. I know I get bored with stuff I listen to constantly, and I need to stretch my wings. Whether this is an album you must hear before you die, I don’t really think so, but I was sure glad I got to hear these two gentlemen ply their trade for one album.

Man, I love Public Enemy. They’re old school enough to provide those childhood nostalgia feels, but they were ahead of their time in delivering social commentary that wasn’t just, My name is Chuck D and I’m here to say. At the same time, they weren’t just about rapping about society’s ills, they also provided satire and cool music that you could groove to. Plus, Flavor Flav is that spoonful of sugar that helps the medicine go down. This was PE’s third album, coming after the album that introduced me to them, It Takes A Nation Of Millions To Hold Us Back. That was a great album and it put PE on the map. Fear of a Black Planet only increased their footstep, providing MTV with several videos, including the hilarious 911 Is a Joke, in which Flavor Flav takes lead vocals. Fear of a Black Planet is looked upon as one of the most important hip-hop albums of all time with respect to introducing political subject matter as a topic to rap about over great beats. I know it introduced this rural, country boy to social ills going on in America. It’s hard to get your arms around a problem if you have no personal stake or know someone who has gone through it. PE helped me, if nothing else, to begin to look into and educate myself on such things I had no reference for. The old, walking a mile in someone else's shoes deal. I just wonder if there is even a current hip-hop collective or artist that is carrying the torch for PE, though they just put out a new album. I saw them perform live on a talk show, and they still have the fire, or at least Chuck D does. Flav, I think, may be fully invested in the parody now. Every generation needs a “dangerous” group making music. I say “dangerous” with quotation marks many times when a group is labeled “dangerous,” it’s just because old people don’t understand. Looking back over some of the “dangerous” acts parents thought would corrupt their little children, Elvis Presley, Ozzy Osborne, Alice Cooper. I mean, we do tend to get worked up about nonsense when there are much, much bigger fish to fry, don’t we? If you’ve never been introduced to PE, this is a great album to start with, though It Takes A Nation Of Millions To Hold Us Back is my personal favorite. Beyond just being great, smart music, it’s important music. There isn’t so much of that around these days, it seems. This is a definite must-hear before you die.

Ah, my old friend, electronic music. I have a love/hate relationship with electronic music. Some I really, really love, but most of it just bores me or irritates me. Orbital are, or is it is, more on the boring, annoying side. I tried to listen to it, I did….Well, not really. I did listen to it once, and I realized pretty quick a second listen wasn’t going to push me more to their side of thinking, but here I am writing this while bleeps and blorks are ringing in my ears with a tinny-sounding fake drum. What is interesting about this album is that Orbital released it right at the start of the Criminal Justice Act, launched by the United Kingdom to crack down on illegal raves. While Snivilisation isn’t a direct response to the act, like the Prodigy’s Music for the Jilted Generation seemed to be, Orbital did release a track called Are We Here? (Criminal Justice Bill) which consists of four minutes of silence. To me, that sounds like heaven after listening to Snivilisation. Maybe I’m being a little harsh. The title, Snivilisation, is badass, and standing up against the man is cool. These days, it seems like too many people want to cozy up to the man. But I digress. Most of the songs sound like the theme songs for TV shows in the 2000s. They are just kind of there. It may be an important album for Electronic music, but it isn’t to me.

I’ll admit I groaned when I saw this was my album for the day. And I wanted to hate it, so I went in with a bias and hate in my heart, but JT, or more likely Timbaland and the Neptunes, won me over in the end. I wasn’t a boyband fan, as maybe you might have guessed. It was my most loathed music, besides nu metal, once I realized nu metal was cringe. So when Timberlake went solo, I celebrated, not because I had faith in him, but because it meant whichever boy band he was in was over. MTV was still a thing back then, so I saw the videos from this album, like the one in which he put Britney on blast for being a cheater. I didn’t really think that was fair, but whatever. When I saw that Timbaland was his producing partner, I thought, “He might be on to something.” Timbaland is brilliant and beyond producing fat beats, as the kids say, I love his voice. It was so different from other rappers at the time. When Timbaland pops up in the mix, it gives me a boost of nostalgia, and at 51, sometimes nostalgia is all you got. I’m bopping along, coming out of my hate for JT, grooving at the desk, then he starts talking sexy. I’m back to hating. I hate talking during songs. I think it started with Bret Michaels, then Shania Twain. I hate it. I also hate it when an artist uses their name as part of an album title. It seems a little much, but that’s just me. Later on, JT and Tim get me back grooving and then I think the song Nothin’ Else sounds a bit like Reach Out I’ll Be There. Then I start hearing The Hustle in another song. Did JT and his producers take well-known songs and interpolate them into new songs? I hate the word interpolate. It basically means you took a good song and just re-recorded it with minor changes, and you now sound like a genius, rather than a thief. Yeah, I’m talking to you, Kid Rock. All Summer Long is trash, but Werewolves of London and Sweet Home Alabama are really great songs. I digress. As I finish up the album, I can say that I enjoyed it more than I expected I would, but I’m a sucker for a good pop song, of which there are many on this album. Other than it being JT’s debut album, I’m not sure it’s anything groundbreaking. I’d say, maybe you should listen to it before you die, but many of you probably already have, as this was a monster in 2002-2004.

I went in totally blind on this one, folks. I’d heard the name, but had no idea what era we were in or what genre. Turns out this album came out in 1993 and was the second album by Girls Against Boys. Wikipedia refers to GAB as post-hardcore, but I'm not sure I understand what that is. I guess there’s punk, then hardcore music, then after hardcore? GAB was formed in Washington, D.C., which I believe is a hub of the hardcore/punk scene, with Minor Threat as the big dog. An early version of GAB featured a member of the band Fugazi, which is also a post-hardcore band. I don’t know, let’s get into what I heard. I liked the album alright, but I’m not sure what there is about it that makes it special. Maybe I’m missing that gene. I was never into hardcore or punk until my later years, and there’s still a lot more I dislike than like. GAB sounds like a '90s band that would get played on MTV’s 120 Minutes, if it got on MTV at all. I'd call the music more hard rock with a 90s grunge sheen. Many of the songs are just noise, but that isn’t altogether unpleasant. It’s heavy, but not like metal. The vocals on most songs have an effect of some sort on them, which is pretty cool. I’m not sure the vocalist is trying to be Pavarotti anyway. The songs are just scummy, simple songs with loud guitars. I’ve probably heard a dozen albums like Venus Luxore in my time. In the short time I spent with this album, I couldn’t figure out what made this must hear before you die. It didn’t light a fire in me or anything. But, as we all know, art is subjective. This may be your favorite album, and you’ve never heard it. If you’re a fan of post-hardcore or just a scuzzy '90s rock sound, I think you’ll probably dig this more than I did.

Mariah Carey is a very talented singer and a Hall of Famer. I’m just not into her. I get annoyed with the runs and showiness. There are plenty of good songs on this album. I would have never listened to the five songs I listened to if not for the 1,001 Albums list, but I quickly became disinterested and quit. It’s just not for me, dawg. On to the next.

Now we’re getting somewhere. I’ve obviously heard Sgt. Pepper’s many times, but I wouldn’t say this is an album I’ve heard more the 8-10 times. As I sit at my desk listening to at least the first several songs, it hit me, these songs don’t represent rock ‘n’ roll or psychedelic songs. They come across as songs that have been around since the beginning of time, that parents pass on to their child generation after generation. Timeless is an appropriate word, but also, they are harmless songs that can teach you something about how you might want to live your life. Like all the songs you sang with your parents as a very little child. Mary Had a Little Lamb is trash compared to Lucy In the Sky With Diamonds. I’d much rather hear Getting Better than Ba, Ba, Black Sheep. And these Beatles songs sound like those types of songs. Am I the only one that the Beatles, or at least Sgt. Pepper’s, hits this way? It’s like these songs have permeated the fabric of our lives. We know these songs without knowing them. I love the Rolling Stones, they’re probably my all-time favorite band, but the Beatles are on another level. Oh, wow, I just realized She’s Leaving Home is on this album. You might not know this song as well as the hits, but for my money, it’s a top 5 Beatles song. It captures the feelings of both a teenage girl and her parents. The girl longs to leave home and live on her own, but is still a little scared to be on her own. Her parents are angry at her for leaving after all they’ve done for her and they also fear what will happen to her. This one gets me, like get the Kleenexes. As for one critique, I hate the sitar, or at least how everyone picked up the sitar after the Beatles introduced it to rock ‘n’ roll. Now, when the Beatles use it, it’s not so annoying, but these other bands who started messing with it aren’t the Beatles. With that said, Within In Without You is brilliant. And, if the whole album isn’t brilliant enough, it ends with the masterpiece, A Day in the Life. I can’t imagine what people thought when they first heard that song. It’s still a goose bump inducer today. Not only is this an album you must hear before you die, all the Beatles' albums are must hear before you die. But start from the beginning and go to the end if you have never done so. You can really hear how these guys grew as songwriters, musicians, and human beings.

Justin Timberlake ain’t got nothing on George Michael. Holy cow, what a great album this is! I saw this, and I thought, I don’t know if I’m going to dig it, then I found out that 7 of the 10 songs were singles, and of course, I love this album. the This is my wheelhouse of my pop music years growing up. This album came out in 1987, which meant I was 13. I knew George Michael as the guy from WHAM!. How did I know that? I had WHAM!’s breakthrough album Make It Big on cassette when i was 10. It’s funny tho, I didn’t buy this album, his solo debut, on cassette. But I loved almost all the songs that were released as singles. I may have been slipping into my metal til I die phase in which I was too cool for pop music. Faith, his biggest worldwide hit from this album, was not only a banger, but the video was great too. George Michael was trying to change his image a bit and converted from the nice, good-looking, boyband guy to the leather jacket wearing, guitar-strumming dude, ladykiller, dude in a biker gang. Um, it might not have fully worked, but I’d say most know Michael from his solo success rather than his time with WHAM!. Hell, he had 10 number one songs, sold millions upon millions of albums, and kind of catapulted himself to legend status by the end of his life. While I didn’t buy this album when it came out, I sure as heck fire bought a cassette single of I Want Your Sex. Even as a 9-year-old, I knew this song was baby-making music and was not something to play in front of adults. Even the title of the song at the time seemed very risque for 1987. Besides the whole tabooness of it, the groove is undeniable. This is electronic/synth music at its best. It’s and 80s song that doesn’t sound like the 80s. Michael definitely found a way to make his sound undefinable by era. Now, the other songs, listening to them again for the first time in decades, I wonder how he got away with the lyrics. Father Figure? Check out those lyrics. One More Try? Check out those lyrics. I Want Your Sex? I don’t really remember any outrage or protest with the lyrical content. I do remember quite a bit of controversy over Prince’s lyrics, Ozzy Osborne’s lyrics, even Frank Zappa’s lyrics from an album that had no lyrics. It must be because all the songs are just one banger after another. While I wouldn’t have thought this was an album you needed to hear before you die, I was way off. This is a very underrated album, at least it was by me. Do yourself a favor, when you need to get your groove on, fire this record up, it’s just what you didn’t know you needed.

I’ve got to admit, I had no idea who the Youngbloods were when I saw they were today’s album. Turns out nobody does except for one song, Get Together, a Chet Powers song they covered in 1967. You know, the whole, “Come on people now, smile on your brother, everybody get together, try to love one another right now.” Though it wasn’t a big chart-topping hit, I feel like it was on the radio or in movies all the time. Today, the song would be more like, “Come on people now, judge your brother, just be a-holes, and try to hate each other right now.” Or something like that. While I enjoyed this album, I can’t really understand why the third album of the Youngbloods is something you must hear before you die. Even when it came out in 1969, critics weren’t over the moon about it. In fact, some thought the Youngbloods' music wasn’t as good on that album as a key member of the band left the group before its recording. The songs are interesting, I guess. They are kind of a mix between pop and rock from the era. However, there are several types of genres the Youngbloods move through throughout the album. I’m struggling to really find anything to really crow about. It’s a nice album, but one I don’t think I’d ever listen to again. I’m not a huge 60s era folk/hippie music guy. The Summer of Love didn’t mean anything to me music-wise unless it was Jimi Hendrix, maybe the Doors. For those who love the Grateful Dead, the Guess Who, the kind of music played during those Scooby Doo, Where Are You cartoons from the '60s, I think you’d dig this the most. Otherwise, except for a few instances of great musicianship, I felt bored during this album.

Finally, we get an album that belongs on the list of albums you must hear before you die. Rust In Peace may be the album I’ve listened to the most in my life. It was, with Extreme’s Pronografitti, one of the first two CDs I ever purchased. And because CDs cost around $20 back then, for a 16-year-old Lee, I listened to those two CDs until just thinking about them gave me what the kids call, the “ick.” I burned myself out so bad, it was years before I could listen to Rust In Peace from beginning to end. Rust In Peace was the fourth studio album by Megadeth, and for me, it was a major step up from their previous album, So Far, So Good, So What? Those first three Megadeth albums, while great, were lacking a bit on the production side, or at least that’s what I thought when I was a kid. I later realized that those albums were likely a bit under-produced to give them a more punk sound. At that time, thrash metal was looked at a bit like it was technical punk. It was loud, fast, and gnarly, but most of the musicians loved metal as much as punk. So, thrash was what came out when they played what they were hearing in their heads. The production value on Rust In Peace was a bit slicker, but the music didn’t lose the pure ferocity that Megadeth songs had. The giant chip on the shoulder of founder/lead singer/lead guitariest/songrwriter Dave Mustaine ensured Megadeth would produce incredible face-melting music until he felt he had at least risen to the glory his former band, Metallica, had. Rust In Peace, for my money, put Megadeth on par with Metallica and their next album, Countdown to Extinction, was every bit as good and heavy as Metallica’s Black Album. When I first heard Holy Wars/…The Punishment Due I’d never really heard anything like it. It was just pure aggression. I wasn’t really fully immersed in thrash metal at that time, but Metallica was my sherpa leading me through the valley of thrash with their earlier albums. I had heard Megadeth songs, like Peace Sells and Wake Up Dead, but their music was a little more grimy, dark and sarcastic. And it sounded like it was produced in the bowels of a steel factory. Megadeth songs always have great lyrics, be they political, religious, or about conspiracy theories. Hangar 18 is about UFOs and aliens. Plus, it just plain rips. Beyond Holy Wars/…The Punishment Due, Hangar 18 is the most known of the songs on the album, and it’s about the Troubles in Ireland. I think Rust In Peace is in the top 5, maybe top 3, thrash albums of all time. Megadeth is part of the Big 4 in thrash metal, with Metallica, Slayer, and Anthrax. I’d vote for Megadeth as number 2 on the list. If you haven’t heard Rust In Peace, it’s an album you must hear before you die. If you’re not a heavy metal fan, go in with an open mind. Listen without judgment and just bask in the riffs and the solos. It’s like jazz, man. But, if it’s a bit too much for you, Countdown to Extinction is a little more toned down, but still a very metal album. It’s Megadeth’s Black Album and probably a good gateway to enjoying more of their catalog.

I’d heard of Fishbone before, but I’m not sure I ever listened to any of their music. Their music is hard to describe. The group started out as a ska and funk band, but by their second album, Truth and Soul, they added more metal to their sound, and their lyrics touched on more social issues than their first album. After their first album, it seems guitarist Kendall Jones thought maybe the band was a bit too “cartoonish” and needed to write more socially conscious issues. Fishbone is a band consisting of black men. Meanwhile, Jones was getting into metal and started giving some of their songs a hard metal edge. For the most part, this album is really good. I was a bit surprised. I’m not the biggest ska lover, but the mixing of genres really does keep you on your toes. Fishbone employs a horn section, which I’m in favor of always. The horn blasts really punch up the ska vibe for me. One of the problems with this album and I think it was mentioned when the album came out, is there are almost too many genres of music on the album. It feels almost like a compilation album. There’s no real flow as you go from a slow reggae groove to hard charging metal groove. For instance, Bonin’ In the Boneyard sounds like a Prince song. While Slwo Movin' Bus has a country groove to it, or at least what a ska metal band thinks of as a country groove. It reminds me of the Vandals' Urban Struggle. With the variety of sounds, I think the album needs a good dozen listens before things start to flow well. Lyrically, the band has their “cartoon” time, but they also have thoughtful lyrics about the things going on in the world in 1988. Yes, 1988. It doesn’t sound like 1988, which is good. It definitely has that '90s hard rock production. I can tell you I already added this album to my playlist of the 1,001 Albums I’ve listened to and liked, or at least wanted to hear more of. I think if you’re a fan of late '80s to early '90s hard rock and hair metal, you’ll probably enjoy this album. One of the highlights for me is the song One Day. It has an incredible guitar solo that is as good as anything that came out of the hair metal years. Plus, the song has a Korn sound to me. It’s weird. This is another album I'm not sure is an all-timer and needs to be heard, but I’m glad it was on the list because I doubt I would have ever heard it. And if anything I’ve written in this dreck tickles your fancy, you might like it too.

Ugh. Today’s going to be a short one because this album was a double album and right at two hours long. I made it through about five songs before I was just annoyed. I don’t need to be annoyed at Christmas time. I already feel like Charlie Brown up in this piece without some sort of electronic snare beaten into my brainpan. However, I did discover one thing about myself during this listening: I hate drum and bass music. Or, I may just loathe breakbeats. It took me a while to like them in metal, well, except for the most extreme cases. If you like drum and bass or electronic music and have never heard this album, according to Wikipedia, it’s like the gold standard. As for me and my house, we are not supporting this kind of trash.

Truthfully, I’m not sure I’ve ever sat and listened to Imagine all the way through from beginning to end. There’s something about Lennon’s music that makes me sad. I was just six years old when he died, and I was quite sure I didn’t know who he was or even who the Beatles were. But maybe subconsciously, I kind of took on the feeling of that era. I’m not sure. As a digression, these days we have a conspiracy for everything, but I’ve never really heard anyone espouse a theory on Lennon’s assassination. It’s like, of all the assassinations, in this case, we’re sure it’s just one wacko who thought he was Holden Caufield. It’s well known that the FBI was keeping tabs on Lennon and was looking for ways to deport him, but no conspiracy theory? I mean, people are so nutty today that they can come up with “proof” that a shadow government run by the lizard people killed their dog and staged it to look like an accident. But, again, I digress. Imagine is a great album, but, as with most solo Beatles’ albums, it has its hits and misses… well, except All Things Must Pass. That’s a brilliant album and, for my money, the best solo output by any of the former Beatles for just pure quality. But I digress again. I'm listening to Jealous Guy right now, and I really love this song. He’s like, “Yeah, I flew off the handle and probably shouldn’t have called you a psycho hosebeast, but, baby, remember? I’m just a jealous guy.” I wonder, when we later get to the brutal How Do You Sleep, if maybe Lennon was a bit jealous of McCartney? He rips Paul to shreds in that song. It’s really another level to what Paul did when he took some veiled shots at Lennon in his song, Too Many People. Could Lennon have been feeling the pressure of having to be the voice, or leader, of a generation fighting for world peace, while all Paul had to do was write silly little love songs and be happy? Maybe Lennon secretly wished he could just write silly love songs and not be the face of a revolution? When Bob Dylan went electric, he just wanted to play rock and roll, not fight the man his whole career. Imagine sounds weird, but in a good way. Like the slide guitar played by Harrison on I Don’t Want To Be a Soldier Mama sounds like he played it in the loo while the rest of the band was in the studio. Quirky things like that make it seem like there’s an audio surprise around every corner on this album. Meanwhile, lyrically, I think this album speaks as much to today as it did to the '70s. Gimme Some Truth could be released today by someone like Jack White, and it would sound as new as it did in 1971. I'm sick and tired of hearing things From uptight, short-sighted, narrow-minded hypocrites All I want is the truth Just gimme some truth I've had enough of reading things By neurotic, psychotic, pig-headed politicians All I want is the truth Just gimme some truth See? After listening to Imagine a couple times in the last day, I agree it’s an important album for more than just the music. It was created by a genius and half of the songwriting team that essentially created modern rock and roll. of It has songs that still speak to us today, though it’s sad we haven’t seemed to make much headway from this album’s debut over 50 years ago. For a music geek, the production tickles your earholes constantly. Easily deserves to be on the 1,001 Albums You Must Hear Before You Die, so get busy listening.

The Byrds really went through some changes to end up as a country band in 1968. And, for my money, as country as any “real” country band going at the time. I’ve heard of this album all my life, but never really listened to it. In fact, when you mention the Byrds to me, I think of a folk group, which they were in 1964, or as a psychedelic rock, which they were in 1966. It really sounds like The Byrds didn’t really know who they were, and in a way, they didn’t. They just wanted to play everything all at once, which never works, except that for the Buyrds, it all worked. As a folk group, they had hits with Turn, Turn, Turn, and Mr. Tambourine Man. As a psychedelic rock band, they had a hit with Eight Miles High. And then they went country. Except they really weren’t going country at all, the plan was to record an album with songs showing the complete history of American pop music, from jazz, blues, country and everything. However, a fellow named Gram Parsons joined the band, changed the theme of the album to all country, helped write and record the album, and then quit the band to hang out with Mick and Keith and ended up living in Keith's house. It’s a long story, and you can look it up on Wikipedia, but Sweetheart of the Radio is a great country album and went on to inspire what would be known today as country rock. While the album got pretty good reviews, it kind of threw people. This was already a very successful rock band going in a completely new direction, which cost them a lot of their rock and pop fans. Like many great or groundbreaking albums, the album only became more successful and recognized as a masterpiece as time passed. The album starts out with a song I’ve heard many times, but didn’t realize was the Byrds, a song called You Ain’t Goin’ Nowhere, which meant nothing to me until I heard the opening chords and the chorus: ​​Ooh-wee, ride me high Tomorrow's the day my bride's gonna come Oh-ho, are we gonna fly Down in the easy chair? This was the first single and probably the most well-known song off the album. The second single was I Am a Pilgrim, which you may have heard because it’s an old hymn. Musically, the album feels like a group of dudes sitting on the porch just playing, but the album is filled with some of the best country session players at the time, many with connections to bluegrass, which, being a Kentuckian, endears me more to the album. The music is tight without sounding like it. I think if this album were put out today, the Byrds would get the same result, no country radio play. They’d have to put an electronic drum in a song or rap a few lines….But, as usual, I’m an old man and yelling at clouds. This album is both important and great, which I haven’t been able to say for most of these albums on the 1,001 list. Be sure to look this album up, I think, especially if you’re a fan of country music from back in the day, you’ll receive a blessing to wash these Yankee carpetbaggers of today out of your ears.

It’s amazing to have been around for the creation of rap/hip-hop. Listening to Run-DMC’s debut album when it came out in 1984 must have blown people's minds….and made a lot of people angry. Hip-hop still tends to make people angry even today. Run-DMC was in the orbit of one Rick Rubin, who was both a hip-hop fan and a heavy metal fan. I’m convinced his pairing of rock guitar with rap made it more accessible to the white audience. It’s hard to hate on a rocking guitar riff. Rock Box is the big one off this album. The guitar playing on it was nice and heavy for the time and became the first rap video played on MTV, which is amazing. MTV wouldn’t even play Michael Jackson without a little blackmail thrown in. Then Michael Jackson, along with Madonna, made MTV. It certainly wasn't Mick Jagger and David Bowie. I digress. The first single off the album was It’s Like That. I’m quite certain I must have heard that at the time because it feels like I’ve always known it. Maybe I saw it on MTV as a kid. It got to number 15 on the Hot R&B chart. Yes, listening to the album now, it sounds quite corny. It sounds like what most black folks probably believe white folks sound like whn rapping. It doesn’t quite hold up to the advancements made in hip-hop, though I’d argue hip-hop has regressed to mumbling and ambient beats. But I’d wager that if you put these tunes on at a party, people would dance and cheer. This album is included on the 1,001 list almost specifically because of its historical significance. This album birthed hip-hop. Yes, the rhymes and beats are simple, for the most part, but at the time, no one outside of people in clubs and at block parties in New York City had ever heard rap before. I first discovered Run-DMC on MTV with the amazing Walk This Way with Aerosmith. It blew my mind. I was in middle school, and I ended up buying Run-DMC cassettes to give as gifts to a few friends. I did the same when I first heard Guns ‘N’ Roses’ Appetite for Destruction. Run-DMC were so good and so new, I wanted the credit for spreading it through Ohio County Middle School. In the end, this is an essential album to hear, though you must get into the right mindset. This was most of America’s introduction to rap and hip-hop; in fact, specifically, Rock Box was white America’s introduction to rap and hip-hop. This album belongs in the Smithsonian to be preserved for the rest of time. Now, will I be listening to it again? Probably not, I’ve got enough to last me for another 40 years.

I’d heard the name Ladysmith Black Mambazo, but I couldn’t remember where or why I knew I recognized the name. Then my good, reliable friend, the internet, told me they were a South African male choir who sang on the Graceland album by Paul Simon. Talk about an album you need to hear before you die. Well, I think Shaka Zulu is another album to hear before you die. As soon as the first note hit, I knew I was going to like this album. It’s hard to explain, but this album gives you a bit of understanding of how most American music came from the music of Africans who were brought to this country as slaves. It’s very spiritual, it just has a feeling about it. You can see where gospel music came from and the blues, jazz, even rock and roll. The album is purely a capella, no instruments that I can hear, which for me is hard to do. I’m not a big a cappella fan, but this album is a joy to listen to. To me, most a cappella sounds bland, but this has soul and is like no a cappella I’ve heard before. Wikipedia said that this was probably the group’s most commercially accessible record, though the songs were just re-recorded versions of their older “hits.” It also helps that this album came out after Graceland, in which the group made themselves known to a world of new fans. The album was produced by Paul Simon, explaining the more commercially accessible sound. Usually, I do some work at my desk as I listen to these albums for the first time. With Shaka Zulu, many times I stopped just to sit and listen. It seemed every few minutes I heard something that caught my fancy. Things like tongue clicking, a nice bass sound, and an interesting melody. Just an amazing album. Now, all that being said, will I be listening to this non-stop for the rest of time? Probably not. Though it is a good album to sit with and relax. I think this is an album worth hearing before you die because I’d wager you haven't heard much music more interesting than Ladysmith Black Mambazo.

owned this cassette when I was 12 years old. I had just gotten into music and was buying my own music. I went through all the stages as a young music fan. First, I just listened indiscriminately to whatever was on the radio. I still have no idea how I was introduced to music because, as far as I know, my mother hated any kind of music that wasn’t classical. But I clearly remember hearing pop music and country music growing up, either in the car or in the house. The second stage was to call and harass the local radio station to play John Anderson’s Swingin’ and Shelly West’s Jose Cuervo or whatever song I was nuts about. I also remember calling to request Shelly’s brother-in-law, David Frizzell, and his song, I’m Gonna Hire a Wino. The third stage was recording songs off the radio onto blank cassette tapes and listening to them until you wore them out. The fourth stage was buying your own music on cassette. I bought So by Peter Gabriel because of Sledgehammer. Not only because it’s a great song, but because the music video was the greatest thing I’d ever seen in my life at that time. There was animation, clay, stop-motion, just all kinds of craziness. I thought all his songs must be this great and I bought the album or got it for Christmas, I can’t remember. Well, as a 12-year-old, I wasn’t ready for Peter Gabriel, as, even though So was his most commercial recording ever, he was a serious musician, and I would later find out, a weirdo. The album started off with Red Rain, which, of course, is about pollution. I didn’t pick up on that then, even though I remember in first grade, teachers were talking about the environment. They’d tell you to turn off the lights when no one was in the room and not run the water while you brush your teeth, not because it helps the environment, but because it saves you money. Digression coming, I think where the environmentalists really screwed up with “going green” was that they needed to couch it in saving money. No one cares about the health of the environment, we’re all a bunch of selfish idiots, but if I can save $5 a month on my electric and water bills by shutting off the lights and water when not in use, I’m not even going to brush my teeth anymore and I'll just sit in the dark. But, I digress. As I listen to So as an adult, I’m really into it. Sledgehammer is still great and then I hear Don’t Give Up, which I vaguely remember as a kid. It’s got everyone’s favorite 80s singer at the moment, Kate Bush, singing on it as well. Such a great song. It’s a song that can get you choked up, but also make you fighting mad. It’s also got a gospel music flow in the middle. Brilliant. Big Time was another single in the Sledgehammer vein, but not quite as good. It’s a banger and will get you groovin.’ The last single is probably Gabriel’s most well-known song ever, In Your Eyes, and I have no memory of it from my childhood. But now, everyone knows it. The other songs are great, but whoever picked the singles picked the right ones. They are the highlight of the album. I’m not sure Gabriel ever made another commercial album and went back to just being a weird, experimental Shock the Monkey type rocker. In my opinion, you should listen to the album because it’s peak Gabriel and has at least three songs I think should be in everyone’s playlist, Sledgehammer, Don’t Give Up, and In Your Eyes.

I never got into Queen Latifah, though, listening to her debut album, All Hail the Queen, she’s definitely as good as any other rapper from that time. She’s a master at her craft, and she was a trailblazer for women in rap. She was the first huge female rap star. In 1989, when this album debuted, I was more into the extremely raunchy or gangsta rap. The Queen never really made it into my playlist back then. My playlist included 2 Live Crew, N.W.A., Ice T, and Too $hort. Like most rap albums, there were about a dozen producers, but while Queen held down the rapping, the producers made some pretty good beats and grooves for her. That’s one thing that kind of took me out of rap at the time, I was never really a lyric guy, unless they were funny, I was more a riff or melody guy. This album does have some sweet grooves, like her first single Wrath of My Madness and The Pros. This won’t be an album that makes it into my regular playlist, but I understand why it's on the 1,001 List of Albums. It’s the first real breakthrough for women in rap. You should hear it at least once, if for nothing else than to say you heard it. Otherwise, if you’re a fan of old school late 80s and early 90s rap, it’s a solid entry.

It’s not too often I get an album on this list that blows me away and makes me regret not being in on the hype when it first came out. I knew who the Flaming Lips were, they were a seemingly chaotic, psychedelic indie rock band from Oklahoma, the big indie band that people loved. I remember the hype when Yoshimi Battles The Pink Robots came out. But I was a metalhead and I “hated” indie rock. Plus, 2002 seemed like a year you still had to buy music, and I just couldn’t take the word of a music critic and spend money on a weird-sounding album. Right? Also, I probably wouldn’t have been ready for Yoshimi Battles The Pink Robots. Yoshimi Battles The Pink Robots is an electronic album with acoustic guitars and hip-hop beats, telling the story of Yoshimi battling pink robots. This album is amazing. The songs are incredible, the sounds are incredible, so I’m all the way in on this album. The album is filled with melancholy songs about love and other earthly emotions, but then you have Yoshimi Battles The Pink Robots Part 2, which sounds like a battle against robots, but in a funky way. There is some debate about whether the album is a concept album, but that’s immaterial to the ears. The music, songs like Do You Realize, kind of reminds me of the Gorillaz, a melding of hip-hop, electronic, and singer-songwriter music. By the by, I also love the Gorillaz. Every album they put out is one you can listen to for months without any burnout. Speaking of Do You Realize?, In 2009, it was named the state song of Oklahoma. Who knew Oklahoma could be progressive in anything? However, as soon as the GOP got in charge, they removed the designation. The state song is now, Oklahoma!. Still has an exclamation point, but obviously much lamer. Truth be told, I like Oklahoma! too. The album broke the Flaming Lips into the mainstream, except they weren’t a mainstream band. Kind of like how the Butthole Surfers became a mainstream band with their song Pepper, but the Butthole Surfers were barely an underground band. But, of course, the Flaming Lips returned to their indie king status and did other weird/cool things, like recording a studio version of Dark Side of the Moon with Henry Rollins and Peaches. I think everyone can find something to like about this album. I recommend giving it a try sometime. It just sounds very different from what we’re hearing today, which is kind of sad.

I’ve never heard this album. This was right around the time I kind of aged out of hip-hop. However, you couldn’t escape the singles of the album, especially In Da Club. That was a monster, and it was quite good. I think several factors made 50 Cent one of the new kings of hip-hop. One was that he had the backing of Dr. Dre and Eminem. That’s almost a golden ticket to wealth and fame, but there have been some misses from those two. Also, 50 Cent had a very unique voice and delivery. He was a mumbler, maybe that’s why most rappers today seem to be speaking an alien language. But one of the biggest factors in making him a superstar, he had a good story. Shot nine times and survived? Had to leave town for fear of being hit again? Brilliant PR, except I guess it wasn’t? But it sure was made known to everyone. Plus, as we now know, he is great at doing business, or at least his agents or mangers are. As for the album, meh. I just can’t get excited about hip-hop these days. Maybe it's because you hear it during SportsCenter highlights, in every commercial, it's just everywhere and nowhere at once. Hip-hop is Muzak now. There’s no danger or intrigue. It’s just a bunch of anomalous beats to hear when finding out how many home runs Shohei Otani hit. I gave this a listen, but beyond the singles, it all sounds bland to me. At least with Run DMC a few days back, it brought nostalgia. I think much like rock, hip-hop is dead, as in, there are no exciting, dangerous artists out there anymore. It’s just a bunch of guys trying to get rich and are figuratively dying trying. If you’re a hip-hop fan, I’m probably lame, but I think you can live a very happy life without hearing this whole album. Maybe just check out the singles, In Da Club, Many Men, and P.I.M.P.

As a dumb kid, I used to think Steely Dan was lame and just music for old people. Then, as I became an old person, I realized Steely Dan is for old people because most young people can’t appreciate just how good Steely Dan is. Take Aja, for instance, it was the sixth album for Steely Dan, and while you have a certain Steely Dannishness running through all the albums, the group, or more specifically, the duo kept experimenting, using different session musicians for each album. Steely Dan just liked pushing the boundaries and creating music they wanted to hear. Steely Dan was essentially Walter Becker and Donald Fagen and whatever session musicians they decided to hire for an album or a tour. On Aja, the Dan wrote longer songs with more complicated arrangements, while also writing two hit songs you still hear on the radio today in Peg and Deacon Blues. You’re also likely to hear Josie and Black Cow off this album as well. Beyond just fabulous musicianship, Steely Dan has a wry sense of humor when it comes to lyrics. For instance, Deacon Blues is about a loser who thought that the losers of the world should have a name like Alabama is called the Crimson Tide. "They’ve got a name for the winners in the world, I want a name when I lose. They call Alabama, the Crimson Tide, call me Deacon Blues." Brilliant. The Steely Dan style can be described these days as Yacht Rock, which gets a bad name with people thinking it's cheesy or campy music made to be made fun of. However, there is nothing cheesy or campy about Steely Dan. They are true musicians who make very technical, but accessible music to just chill out to, party to, make babies to, whatever you mood you're in, Steely Dan can heighten it. I can’t recommend this album enough, along with most of Steely Dan’s catalog. Listen to this immediately, if not sooner.

Finally, I get a Bad Brains album. I’ve heard the name Bad Brains for a while, since the hair metal days at least. I’ve never listened to them, or at least nothing more than hearing a song or two. At the time I checked them out, I was way into hair metal and Bad Brains was known more as a punk band. In fact, some call them the pioneers of hardcore punk. I didn’t understand punk during the ages of 13-18. I was into Joe Satriani, Steve Vai, and Yngwie Malmsteen. You know, the holy trinity of guitar wankery. So if there weren't blazing solos, I didn't want to hear it. Though now I see what an idiot I was. Bad Brains, according to my friend Wikipedia, formed as a jazz fusion band. That kind of makes sense. Jazz can be chaotic and Bad Brains and their fans could be chaotic at times. In 1986, the band released I Against I, their third studio album, which was just everything. Metal, punk, reggae, funk, soul, whatever you wanted, you got on I Against I. I think it’s just weird enough to work. I Against I appears to be the band’s most influential album, if not its best. The album would go on to inspire bands from Sublime to Sepultura to Rage Against the Machine to Jeff Buckley and others. The album offered a different kind of sound at the time to those who weren’t into the whole hair metal scene. The album sounds like it was produced by the people who brought us Megadeth’s Peace Sells, But Who’s Buying and So Far, So Good, So What. As a Megadeth fan, I love both those albums. The guitar work is great with some very chunky riffs and great solos that would fit nicely into the hair metal scene. The vocalist H.R., is a great singer for this style of band. He sings, he raps, and he kind of uses an English voice like Donovan provides in Alice Cooper’s Billion Dollar Babies. There are times you can hear a bit of Glenn Danzig in his voice. He’s really refreshing and weird. This album is definitely going into my regular rotation. I love the sound and the spirit of the album. I think this would be a good one for fans of metal and hard rock to listen to. But I do think if you go in with an open mind, you’ll find a lot to like about I Against I.

I vaguely remember hearing about the band Mercury Rev, but I had no idea I was about to hear something I’ve rarely, if ever, heard. Deserter’s Songs is like a movie soundtrack for a movie that hasn’t been written or filmed. Cinematic isn’t even a big enough word to describe what I’m hearing with this album. that The funny thing about this album is the band was kind of down to just two people, Jonathan Donahue and Sean “Grasshopper” Mackowiak, and none of their previous albums made a dent in any pop or sales charts. Drug problems, poor sales, debt, and battles with the record label led to the band splintering. Donahue went into a depression, and Grasshopper kind of retired to a monastery. Essentially, the band was over. But Donahue missed his friend Grasshopper and decided to write music that they wanted to play, rather than trying to find music the label thought would sell. He moved to where Grasshopper lived to write and record with him. Donahue said recording a new album was less about sales or making money, and was more about reconnecting with his friend. During the recording, Levon Helm and Garth Hudson of the Band, who lived in the area as well, joined the recording sessions for Deserter’s Songs. So there’s a little bit of the Band’s essence sprinkled on the album. But the songs, my God, the songs. It’s hard to explain them because I really haven’t heard anything like it. It’s more of a vibe than anything. The songs feel happy, but they’re laced with an underlying sadness, at least the first five are. They mastered the album on 35 mm magnetic film, and they think that’s where the "weird" sound quality comes from. The theme of the album is “walking away,” according to Donahue. Now, this was supposed to be their last album, but a funny thing happened...the album caught fire in Europe. It helped that the Chemical Brothers, who had collaborated with Donahue for a project before he reconnected with Grasshopper, kept telling the world how good the album was. Mercury Rev has released six more albums, with their last being in 2024. Deserter’s Songs changed the band’s life, and rather than it being the end of their journey, it turns out it was just the beginning. I’ve done like 150 of these albums, and I rarely get one I haven’t heard that just really reaches in and grabs me by the guts, but Deserter’s Songs did. The song Tonite It Shows, Endlessly and Opus 40 are my favorites, but there isn't a bad song on the album. Check this album out, especially if you like film music. I think you’ll really love the vibe and sound of it.

Ugh. I dislike Christina Aguilera. It’s the runs, you know, the need to show off your range by turning a one syllable word into 27. We know you can sing, you don’t have to work so hard to convince the convinced. It’s annoying. I can appreciate that she can sing. When she came out with Britney Spears, Britney had the whole jailbait thing working for her, but Christina was actually talented. Then, because talent wasn’t enough, she turned into XTina to try to take some of Britney’s elderly pervs. But it just seemed desperate and beneath someone with real talent, in my opinion. I do see this album has the usual dozen people credited with writing each song. I still don’t know how that works. Did one of them come up with one note that brought the song together and now he gets a writing credit? I guess it’s still going on today. I remember the days when one or two dude wrote the songs. I’m old and digressing. I love how there's one song about taking it back to basics while using samples, record scratches, drum loops and rapping. Is Back to Basics, like 1989 for Christina? She’s singing about singers from the 40s and 50s, and the song is just computers bleeping and blorping. It irks me. I can tell I ain’t finishing this album. Ah, the single, Ain’t No Other Man. I actually kind of like this song. But I’d be fine if I’d never heard it again in my life. We’re about halfway through the album and I’ve had to turn the volume down several times. She’s a screamer, my friends. We know you’ve got power, but can you not be on full blast at all times, Christina? Good Lord. Christina is now talking in her song. I hate the talking in songs, Bret Michaels, Shania Twain, I'm looking at you two. It sounds so dumb. Unless you’re rapping, otherwise, sing! Why does it seem like I’m so angry? I’m not, just annoyed. This is fun. I want to hear the Mark Ronson song. If anyone can make me like Christina, it’s Ronson. I’ve been a Ronson fan since back in the day, you know, 2003. Oooh, I didn’t think much of the first Ronson cut on the album, but Without You is….kind of….good. It’s also the song with the least amount of songwriters, which is still four, but could fewer cooks lead to a better meal? That’s weird, isn’t it? That’s sarcasm right there. She’s still doing her bs runs, but the music is really great. Ooooh, she sounds great. Why wasn’t this a single? Then we go back to trash with Still Dirty. I love how all these pop singers need to express how dirty they are in a song or two every album. They’re about as dirty as a bar of soap. Carrie Underwood isn’t bashing an ex's car with a baseball bat, XTina isn’t competing in some weird underground sex fight league. She still doesn’t have that nasty in here because it was never in there. She’s your genie in a bottle, not your bad girl on a chopper. And she’s back to yelling at me. Okay, I made it through the whole album….as far as you know. It’s not for me, dawg. I like pop music, but I never fell under Christina’s spell….I was close when she was putting out videos of her in the underground sexfighting matches, but thankfully, my ears kept working. If you’re a fan, you obviously think I’m an idiot, and I am. At the end of the day, I don’t think this is an album of any importance, at least not to me.

I’m not sure who the female singer is who made it popular to change the sounds of words when they’re singing, but I need to get in a time machine, go back, find them as a child, and smother them. Ugh. But just to show I’m all about equality, whatever rapper made mumbling popular in hip-hop, once I’ve smothered the singer, I’m doing the same to him. And now, that brings me to SZA’s Ctrl. She doesn’t seem to be much on spelling, which may explain her weird word pronunciation. Now, you might think I hated this album, but I actually can appreciate it. It at least sounds different, like someone was trying to innovate rather than just follow the same old pattern most record companies want. Are there still record companies? Are there still records? I’ve heard of SZA before, but I assumed I wouldn’t want to hear her stuff because, well, I’m old. But I actually quite liked Ctrl. It’s as close to an old-fashioned soul album as we can get these days, probably. There are no real bangers, as most of the songs are about love, or maybe more like lust. If she indeed wrote the lyrics, she really gets quite vulnerable. However, this album is one of those where the songwriting credit goes to like 8 people persong, so maybe she just gets handed the lyrics and sings when it’s time to sing. As I said, I’m an old school guy, and I have no delicate sensibilities, but I miss the old days when you couldn’t say the dirty words you meant. I Can’t Get No Satisfaction wouldn’t hit the same if it were I Can’t Get No P….you know? The song Doves in the Wind is about the importance of P. But the word is said so often, it’s like it's beating you over the head with P. I’m not sure if I’m supposed to giggle like a schoolgirl or clutch my pearls, but what I ended up doing was rolling my eyes. Sometimes, just because you have the freedom to say the words that shock doesn’t necessarily mean it’s better. It's just hacky and lowest common denominator, in my opinion. Drew Barrymore, track 4, not the daytime TV host, sounds like it could be a country song, or at least what passes for country today. Worse, becomes wirf in this song. Did Adele do all this changing of word sounds? I know Duffy did for sure. So, as I was listening to SZA and working, I really didn’t pay much attention, except for them saying P about 256 times in the Doves In the Wind. Then The Weekend came on, not the singer, track 6, the first certified banger on the album. Okay, Prom is pretty great, too. Of course, The Weekend has songwriting credits from Timbaland and Justin Timberlake. And when I mean it’s a banger, it’s a slow funk groove that would normally be described as baby-making music. As Ron Burgundy might say, Unnngghhh. Aqualung. The song is about how SZA is involved with a man who has three chicks, and she’s on the weekend shift. This guy must be an idiot; this will blow up in his face so bad he’s liable to get set on fire. Then, as the album goes on, I started to really get into it. Even the weird changing of the sounds of words couldn’t pull me out of the groove. By the end of the album, I felt it was much better than yesterday’s Christina Aguilera album, because I believed everything SZA told me. Ctrl is not an album I’m going to listen to over and over, but I’m glad I dipped my toe in to see what she was all about. Is it an all-timer? I think it’s too early to say that. Come back to me in 50 years, in which case I’ll be dead, so it won’t matter anyway.

Tom Petty was one of those singers who wasn’t a great technical singer, but his voice was distinct, it had personality and 60% of the time, that beats great every time. This album didn’t really take off in the U.S. when it came out. As usual, the United Kingdom was way ahead of us when it came to musical taste, and disco was still crushing in America. However, America caught up and Tom Petty and the Heartbreakers later became a more accessible punk rock for mainstream America. You can tell this is Petty’s first album because a lot of the songs are simple and about rocking. The songs are short and sweet, just get in, rock their faces off, and get out. The opening song, Rockin’ Around (With You) gives me a Beatles vibe, like early Beatles. It seems like a throwaway song, but it gives you a perfect example of what to expect, a solid rock record with good harmonies and great choruses. Then, when Breakdown comes on, you think, this isn’t the Beatles. Breakdown is more Tom Petty’s version of the Eagles. The chorus with the backing vocals gives you chills. It was the first single off this album. Hometown Blues isn’t exactly a memorable track, but it does have Donald “Duck” Dunn playing the bass on it. Duck was the bass player for the famous Stax Records in-house band, Booker T & the MG’s. I can imagine the Heartbreakers thought they were playing with royalty that day. The Wild One, Forever sounds like Petty’s first shot at trying to right a Bruce Springsteen or a Jim Steinman song. Follow me as I digress. Have you noticed that a lot of early Springsteen songs are similar to Jim Steinman songs? Steinman wrote the music for most, if not all, the Meatloaf albums. Listen to Bat Out of Hell and then Born To Run and tell me it doesn’t have a similar vibe? a By the time we get to track 6, Strangered in the Night (great title), we get to our first and, probably, only song that featured a murderer on the track, as Jim Gordon is playing the drums. Gordon was great drummer who did a lot of session work. He also happened to play drums in a little band called Derek & the Dominoes. Perhaps he’s more famous for murdering his mother by stabbing her to death with a butcher knife. Apparently, the voices in his head told him to do it. He was diagnosed as schizophrenic, but California sentenced him to life in prison anyway. Just a sad situation all the way around. Back to the rocking, as Track 7, Fooled Again (I Don’t Like It) gives me an AC/DC vibe, at least the riffs do. It sounds mean and evil. Ooooh, I really like this song. It’s an album cut that I think could have been a classic rock hit. It’s just different from most of the songs on here. It’s less, let’s rock, and more, I’m going to kill you. Mystery Man, track 8, kind of sounds like a nice 80s country song. Which is odd because this album came out in 1976. Makes me think of the Bellamy Brothers mixed with Van Morrison. It’s a cool little song. Luna, track 9, has a Fleetwood Mac feel. It’s funny, a lot of these songs sound like they could have been done by other bands, but they are truly Tom Petty songs. This is a slinky song, until we get to the jingle bells, which seem… odd. Whoa, this song really took off in a weird direction for a second. The album finishes with one of my all-time favorite Petty songs, American Girl. This song was a homerun and the highest charting song for Petty in America off the album, hitting number 9 on the Hot 100 chart. It was a big hit, probably because as Americans, we love us some us. This song is so fun to sing along to and is so peppy, while the lyrics are more melancholy. That guitar solo at the end has to be one of the most memorable in rock. As I move through the album, I can see why it wasn’t a juggernaut, the singles, Breakdown and American Girl, are undeniable, but most of the songs, while not filler, just aren’t up to the kind of songwriter Petty would become in later albums. Petty was one of those songwriters who never ran out of hits. Even at his death, he was still putting out great music. I think, while he’s plenty rated, 100 years from now, we'll look upon him as one of our great songwriters with the likes of Dylan, Lennon and McCartney and Jon Bon Jovi. If you’ve never heard this album, it is for sure a must list

I don’t need to listen to this album. This album has been sutured into my DNA since about 1990. I remember the first time I got …And Justice. It was through the Columbia House CD club. Remember? You pick out 15 CDs for a penny, and then you only have to buy 5 more at the regular club prices. And to help you out, they’d send you a new CD every month to listen to and decide if you like it. If you don’t, just send it back. Hmmmmm, to a teenager, this sounds too good to be true,e and, of course, it was, but they eventually stop trying to collect their money....I've heard. Anyway, I received …And Justice as one of the albums they sent monthly. I had heard of Metallica, but I wasn’t into thrash or speed metal at the time. To me, ZZ Top was heavy metal. I cracked the CD open and put it in and….ugh. This singer isn’t singing, he’s yelling. This is really fast music, but then it isn’t. Why don’t they pick a lane? Eventually, after not being impressed, I actually fell asleep and slept through about ⅔ of the album. I woke up and thought, I won’t need to listen to that again. And I sold it to someone at school. A little later, after Metallica had blown up because of …And Justice. I received Metallica’s Kill ‘Em All remaster from Columbia House. I thought they weren’t fooling me again, but I’ll give it a listen. I loved it. It blew me away, and it was faster and even more yellier. I couldn’t believe it. What changed? So, I bought a new copy of …And Justice For All and listened to it around 250 times. No joke, it’s easily one of the albums I’ve listened to most in my life. I love the progginess of it, the apocalyptic message (it especially rings true today), and James Hetfield is still yelling, but I get it. He can’t sing, so what’s he supposed to do? It got to the point where I knew where all the time and tempo changes were coming without counting beats, I could recite the guitar solos better than I could the lyrics. This might be my all-time favorite album. And, it’s not even really metal so much as it’s prog rock. Listen to …And Justice For All with all the riffs and time changes and tell me that isn’t prog rock. Now, for the elephant in the room, the Metallica boys made this album while they were still grieving the loss of their bass player, Cliff Burton. He was the genius of the group, but don’t tell Lars Ulrich that. Anyway, they hired Jason Newsted as Cliff’s replacement, then tortured him for not being Cliff. If that wasn’t bad enough, they mixed his bass to sound like the guitar riffs, and there is essentially no bass on ...And Justice. And you know what? I don’t care! I love crunchy guitars, so give me more. Also, I love the way Lars’s drums sound on this album. Their next album, the Black Album, would be the one to send them into mainstream superstardom, but for me, this is their best album. I can’t believe there isn’t anyone under the age of 25 who hasn't heard at least the song One from this album. Quickly, before all the things Papa Hetfield sings about on the album, listen to it immediately and change your DNA.