I believe that the person who put this on this list as never listened to that album. First of all they feel like what a door to door encyclopedia salesman must have felt like. The sound is trying really super hard to be cool, (which is the most obvious way to do that), but it is also 1982, disco has been here for a decade at least, and is in fact at the end of its rise. The straight white boys are not helping. I blame this band especially, though they are not all white, and I don't know them enough to know that there all straight, but the absence of joy is really giving me Crypto Bro energy. There are very few bops, all front loaded. The album would have been ok with like 5 tracks on there. But it's not, it's long, it draaaags, and refuses to say anything of substance ever. The back half is a mix between the worst of Chic and the terrible writing of Depeche Mode. ("Yeah, Yeah, Yeah, oh Yeah, Calling Captain, Autumn" Hell no.) I would not know the sound of this band from a thousand others, cause it's as bland as this type of music can get. The worst offenders : the baseline that are mostly flat or very reminiscing of other bands, but most of all the saxophone on every song. It's not even good sax, (good sax, is always and forever sexy sax) it sounds like lazy sax cause they have the charisma of the toothbrush you keep for bathroom cleaning. After this album, I am unsure if the starting thoughts have any validity to them. Has any of them ever met a girl?

I must say, I knew this album, front to back, fully expected to see it in this list. This is truly an all time great album, colorful, extremely tight and always interesting. It feels like a band at the height of their powers, owning their sound. It is very much experimental and froward thinking, the writing especially is interesting, it is all about the sounds, all about how words fit and ring in your hear, creating a poem in a very surrealist way. It creates a kaleidoscope of very "them" sounds and everything feels dreamy. I think this album is a lot more influential than people give it credit for, I often hear it in productions of today. It has waves, places to go in a self containing world, ambition and heart, it is quite simply, one of the best album I ever heard.

This album is clever and feels fresh for 1977. It is also a lot more complex and melodic than you would typically find, which keeps it interesting and therefore relevant to this day. The most surprising part is the writing, most tracks have. double entendre, twists or imagery that are well worth my time. “Venus”, just for example, is such a strong piece of writing, a metaphor that could mean different things to different people, be it a lover that is a letdown, drugs and the low following the high, but you get the imagery even if the actual meaning is polysemous. Falling “right into the arms of the Venus de Milo” (an armless statue of the goddess of love), is such a strong concept without being literal it really scratches my analytical brain and I’ll keep that song forever. It also has less clever sex jokes, but on those, the music full of cool guitar riffs that are interesting to me, the doubling guitars make their sound very unique. The album is however not perfect, I think some swings are misses like Prove it, which is a fine song, not hugely entertaining or special and something I have heard a 100 times before. When you have 8 tracks, you can’t really afford a 5-minute detour like that in my book. I also really have a difficult with Verlaine’s voice, but that is entirely subjective and something I can get passed. In the end, I think the highs are well worth the side points, and this is dad rock I wholeheartedly back, I am glad I heard it.

Some great tracks, first three and get a grip, intersting blend of music genre, but a bit samy and too long

Very ibtersting album, sonically may be too coherent, but thematically a vagabond's perspective on life in the 60s wich is fascinating. The well known track stood the test of time for a reason, but love me a Liz Taylor shout out

Very solid, 8 tracks that slips, lots of cool sax and a very successfull album. I guess meeting accross the river is the weakest, but barely

This is incredible. If the title track wasn't on there it'd be an oops all bangers album. The first three really are something special, probably one of the best three track run ever in my opinion. The theme to me is relationships, the way others can make you feel, wether romantically mr friendship wise and thebwriting is killer, very personnal. That with melodies that are incredible (how versatile can a piano be ??) makes tapestry absolutely great

Not very interesting, the sound blends together. The end is a bit more expetimental, so more interesting, but barely. Melodies are not that strong too..

A lot of different sounds, probably a great jazz album, and some very cool tracks, but not ly thing in general. Glad I listened to it in general.

It was good, some I really liked but a bit samy at the end of the day. Not wheel reinventing by any means, but good

Some is real good. Some is very forgetable. I understand a legacy pick; but there is a lot.lf dad rock on there. Dont know we needed the who

Was quite impressed by how it defied my expectations. Fully expected a one track album, and its not even the most interesting. Also expected a full heavy synth 80's sound and its a bit more diverse than that, some rock and jazz élément which makes it fine

Pretty interesting at first, but the more the album goes on the more the sound gets repetitive. It's fun, its's groovy, I understand why it is here, but not sure this will be a main stay and included in the rotation

Yeah that's a no from me dog. This album delves into such dark topics that it is a really tough listen. I don't mind a bit of hard rock or metal, had a grunge phase, but the subject matter on certain songs makes it really difficult to keep investing in it. It's not all bad, some of it is even quite sticky, but I think it's way too small in scope and coherent for my own taste. At first the tracks at the top seem cool, and I liked them, but the longer it goes one the deeper my disinterest sparked. Mostly, the darkness feels unredeemable, and the glorification of heroin is a bit much. You can be not a fraud or a "poser" without talking over and over about the sell outs. In terms of music, it's really isn't very interesting either, sounds a lot like other bands, and honestly I'll probably never listen to any of it ever again. In a way, I feel like the album is trying to be divise and us v them and controversial and whatnot, so in that it is successful somewhat ? I get that it's the first of it's kind (kinda), so the rating will be increased by one star for the legacy and what it ushered but yeah, no.

Interesting listen, and I am back and forth on whether I like it or not. Some tracks are not my personal taste, some are just so drab it’s offensive, but the garage rock (“grungy”) is where some of my music roots are, so I listened with an open mind. My biggest grip with it is that it’s not that original, the writing especially is a bit weak overall, and it’s not like it’s all that revolutionary in terms of sound, so you kind of are left wondering why is it an important listen ? Some pluses are that it does not sound as dated as some classic grunge album can, (except on a few track, like the closer Check Out Time which can go.) I think it’s also a lot more fun than what I was expected which is very refreshing in an album of that genre which too often the heaviest shit you can find. Sometimes it’s a bit odd, and those are the moment where it really shines, because it sets the record apart from others in a similar lane. I especially like the two songs with harmonica on it, (Move out, Pokin around) because they introduce a new sound and are a welcomed changed for the heavy guitar riffs, which are masterful, but can sometimes blend together in this kind of album. Ultimately, I think it’s very well made, and it rolls on engagingly. It’s nothing revolutionary, and I wish it pushed itself further on experimenting with other sounds, but it’s solid. If it was cut in half I would love it more, but I’m glad I discovered it.

This album could be the soundtrack for a Buffy episode that is set in Bronze, which I’m not mad about. It’s quite a mix bag, and certainly an interesting listen. Some songs are super bland and forgettable, and feel half finish (Annie, All nighter, Blue) but some are really awesome and I really enjoyed, like Car Song, Smile, Waking up, 2:1. I think there is a all-time great record in there, but its not quite, cause it’s tight enough and I liked 9 out of 16 song. In terms of pace, the middle in particular drags a little, but only one song is really messing me up. Biggest grip is that See that animal is really weak and uninspired, it should not be there IMO especially within the end of the record, which is otherwise very very strong. That leads to my main point, which is that it feels unpolished to really be to my liking, but I guess it’s the “punk” edge to be messy. I don’t really mind it in the end, it is mostly a fun listen, not tedious in the least since the meh songs are so short (and inconsequential for the most part). The fun part really stand out and it is overall solid.

This feels like the twilight soundtrack.

Aside from the two well known songs, as an album, I don't think its very interesting. It sounds very of its time, and kinf of the same in all songs. It has nostalgia attached to it, its not the worst either, but not great great

A wonderful album, full of strength and epic. If you make a 8 track album they better all be solid and worthy of a listen, and that is more than archived here, there's nothing that feels out of place, like it shouldn't be there. Sonically it's quite rich, a lot of killer base line (school) and cool sax (Rudy) sweeping violin (If everyone was listening) and gorgeous piano that builds (Asylum). The most impressive part is that this album is a debut, and the fact that they continued to make music, (that I'm hoping is as good, but at least more popular) is truly a feat. Who drops a masterpiece on their first try and keeps going ? I knew some songs of Supertramp, everybody does, but never listened to a full album and I'm glad I gave it a shot. It's really really good, and will stay on my rotation.

My main point is that I don't know that the live element adds that much to the songs, except that they are very talented musicians (to which I say : duh), and that it sparked FOMO in me of not being there. But the record is strong, and the collection of songs are exceptional for the most part. I just think it doesn't feel like an album but rather a best of and it is waaaay too long, and sometimes a bit unnecessarily so. 20 minutes for most track on any project is too much, especially if the song stays within the same lane. The drum solo on Mule for example drags a little and is not as epic as I would like. However, at some other moments it really does a fantastic job at enriching a cool song. Strange kind of woman feels so much juicier and fun than the normal version, which is not as remarkable otherwise. Overall I'm happy to have listened to it, but yeah not ground breaking either. The second disc (I do not know if it should count or not) is way less fun, and the 3 black nights feels totally overkill. Only Lucille feels a bit fun, but I'm not impacting the score that much.

Not that interesting of a listen, quite dated and very not revolutionary. It's not terrible, there are stand outs, but in the larger sense it's not a project I'm glad I gave a chance too. I could have been perfectly fine having never heard of them or any of their songs. Some songs are incredibly mid and could have been by any other band from that time. Nothing on there is offensive or absolutely terrible, but once you hear the first violin progression + synth you do not need to hear any more, the whole thing doesn't go anywhere and sounds too much alike. On the positive, A design for life is a fine song, it's good and I get why it's the most popular, although not that exciting. The only shining moment on the album comes for me right at the end with No Surface All Feeling. That one sounds ahead of its time, very much late 00's rock, and is a beautiful song about friendship and grief. That one I'll keep.

This is exactly what you hope to find in such a list. Never heard of them, and it's really good, always interesting and (mostly) still feels kind of fresh. Some songs are better than others, for example Are we here ? starts interesting but drops mid way through, I wish I had duck feet is just bad, but there is a couple of bangers, (give me a club pogo on quality second anyday) and some nice ambient-y music. It's varied, trippy and the scope is perfect, there is little to really dislike here.

Well Bowie is in a class of his own, and is probably the greatest solo act that ever was. That being said, I fully expect to see many of his albums on this list, and to spoil a little, many of his are well above Aladdin Sane in my own personal ranking. Ziggy, Hunky Dory, Heroes, and my favorite Low, and even Let's dance (sue me) are to me either better album, or have bigger hits. This one might be the apex of visual Bowie, and it's still interesting music, complicated. 10 songs is real good length, but some feel not as consequential as the others. The best part of the album is clearly the end, and the middle as a lot of filler (by Bowie standards) on it. Sonically it is interesting, straddling between a little experimentation, big pop-rock energy, and a diversity of sound that is exciting. However I don't know that this a great album, there are too many song that sound like something he has made already, or event repeated himself. As an album, it's not perfect or even coherent thematically, but there are great songs. There is none better on there than Lady Grinning Soul, which is a very unusual range of sounds, quite emotional and different, and I liked that one a lot. It would be 3,5.

You'd probably expect a one track album, the title track being such a smash hit. I realized listening to it that I knew a lot more of their songs than I thought, and the one I didn't are just as smooth and velvety. Truly, a blast full of sweetness, and very much hip danceable. You can play it front to back at every wedding, it's full of love and killer bass and full of hooks. I guess despite the fun I have two main critics, one that is quite surface level (it's a bit too kumbaya) and the other being that it sounds a bit too coherent for me. It's so well put together, and without any inclination towards experimentation sonically so it sounds a bit samy. I can't fault it too much, it wasn't the aim and they smashed what they set out to do : a very dancy fun album. However, my favorite records do either in a spectacular manner so it's not getting a five, but it is for sure a fun time and easy listening. Honestly, a good surprise, it really stands on its own.

A very meh album, with a lot of "oh she's hot" songs. I'm typically down for a fun time in music, but yeah it's not that fun. Sonically it's minimalist but efficient, and coherent without being the same. It's not terrible, just lyrically very very poor, and the music isn't experimental enough to salvage the whole thing. Some moments are shining, like Breakout, but over all it's quite forgettable. The hidden tracks are a throwback for sure, but 3 is one too many. In the end, if feels like a producer's album, with very little to actually say and no need to be heard.

Sorry about this review, but this is a weak outing by the Kinks. It is nothing I should really have listened to, there is one good song on there (picture you) and it's not even that good. It sounds exactly like early Beatles, which is not the most interesting point, and to give context, this album is from 68 Abbey Road (kind of their last album) is from 69. There is very little excuse to make that kind of music at that time, it's not inspired, it's not interesting, it really as no business being listen to today. I am frustrated by its inclusion, cause I don't even get the legacy pick cause there are music from earlier that is much more interesting. Its not all bad, I can listen to this, but should I have heard it ? Is it necessary ? Absolutely not.

A good album, very much rooted in their own reggae sound and full of hooks. The best part of the album is that it doesn’t sound all the same, while remaining coherent. There is also some solid writing, but it’s mostly about the music as the title track (with lyrics that are mostly sounds) clearly suggest. I found myself very impressed by the drums, over the record they print around fast and furious, and they try a lot of different things (like on Walking on the Moon). Obviously, there is also that incredible base line in Message In a Bottle. That hit alone makes it worth a listen. I don’t know that I like all of it, cause the middle of the album is a bit stiff but I can vibe with it well. The opening however is quite interesting, (up to Bring On the Night) and clearly the popular part. However, I don’t understand the lack of love streaming wise for I found No Time This Time, not a hit, but very interesting and forward sounding, (it’s giving the Who on speed). On any other day is however, on there. The song is about a man’s birthday being a crybaby and lamenting, and the worst thing that happened to him is that “ My fine young son has turned out gay”. Yeah. Not great. The pitch for the song is a good idea, and the construction is clever going down like that, but not a fan of lyrics that are homophobic. However, it's one song out of eleven. It’s offensive, but “ it would be okay any other day”? Overall, it’s fun, and while not better than their first outing it’s solid and still relevant today sonically. That one line though.

A phenomenal listen, full of passion and interesting quirks, a legend, that I can't believe was improvised in parts. Jazz sometimes can be a little tough but not here, it's hopeful, it's bright, the piano sounds incredible, and the whole legend around that piano (it was a janky one, certainly not what he requested) just builds the myth that is that album. I understand fully why it is so popular and the best selling piano record of all times, it's full of little moments that you catch while going through it mutiple times and it i full of emotions. I can already tell you I'll be listening to it a lot.

Kinda underwhelming, some great baselines and overall tracks, but most of it feels like fluff and for a disco record it's not that fun. The interesting and best part comes from the originality of the construction of the album, the first part implying a live and the last part Funny Bones (mvp of the album) being without singing, just laughs, the radio presenter and sounds is very very cool.

The album has its moments, there are some nuggets of really good stuff there (My Mate Paul for example is interesting to me), and it's mostly a pleasure to listen to. Yet, some of it sounds quite dated and not experimental enough to truly be fascinating. As an album it goes the route of "collection of sounds" rather than a truly great album meaning where the songs really synergies with each other. With this process, it covers a lot of ground in terms of genre and sound, and that makes it worth a listen just for the historical factor, but it lacks coherence to truly be a standout in my opinion.

It is different to hear Bob Dylan with a full band and in a "rock" vibe, but it doesn't have the charm and earnestness of his earlier work, or the accuracy and poetry of his latter work. I think this one in particular feels the least necessary of his earlier work I know about, and too much of a continuation to be really interesting. There are absolute gems on there, (Highway 61, Ballad of a thin man) but for the most part most the songs run too long and sound too much a like to one another or the rest of his catalogue. As far as what he says, I think his work can be a lot more precise and interesting than this and this album while good reflects that.

I'm quite ambivalent about this album, it's different and the mix of sounds still sounds fresh, but it's annoying at times. I don't think all of it works and is as great as it could be, but it is trying, it has ambition and a point of view, and sonically it is quite daring. I think that alone is worth my time, and it has all of that in spade. Even if it doesn't become a main stay for me, I'm glad I got to listen to it. It probably won't, cause I can't deal with the way he sings the word fire.

I think this album is difficult to rank and revisit. On the one hand, it's wonderful, an instant classic that is great and soaring to new heights especially for a first outing. I have always loved this, I remember what it was like as a kid to listen to this for the first time, the jolt of creativity I felt. Some tracks there are absolutely great, and still sound fresh and very much like their own sound. But I can't ignore that the allegations against the singer have taken their toll on the band's legacy. It shouldn't be ignored, and I do fall on the side that I like Arcade Fire a lot less than I used to. If you look at the allegations, it's probably less awful than other atrocious stories of show business, and the band as done charitable things for years especially for Haiti. That doesn't excuse anything, but I did think it deserved to be listen to again, if only once for this. In the end, I would understand a 1 star, and I would get a 5 star rating, it's a complex situation. Even though the singer as a person is an alleged demon, the band's music is not, so I landed in the middle.

This album is not really interesting. Why is this revered in any way today ? The music is simple to say the least, very much like others of the time, and bands like New Order have made much more interesting music than this. To me the only track worth anything are the opener which is a good pop song but not that special, and I want you now, that is a bit weird and at least trying something. It has no ambition which is crazy given the title given to that album. But especially it is the writing that is driving me bananas. The words are really dumb. I'll let them speak for themselves : "Nothing, Nothing What am I trying to do ? What am I trying to say ? Nothing, Nothing, oh no". Yeah there is very little worth keeping here, really.

I believe that the person who put this on this list as never listened to that album. First of all they feel like what a door to door encyclopedia salesman must have felt like. The sound is trying really super hard to be cool, (which is the most obvious way to do that), but it is also 1982, disco has been here for a decade at least, and is in fact at the end of its rise. The straight white boys are not helping. I blame this band especially, though they are not all white, and I don't know them enough to know that there all straight, but the absence of joy is really giving me Crypto Bro energy. There are very few bops, all front loaded. The album would have been ok with like 5 tracks on there. But it's not, it's long, it draaaags, and refuses to say anything of substance ever. The back half is a mix between the worst of Chic and the terrible writing of Depeche Mode. ("Yeah, Yeah, Yeah, oh Yeah, Calling Captain, Autumn" Hell no.) I would not know the sound of this band from a thousand others, cause it's as bland as this type of music can get. The worst offenders : the baseline that are mostly flat or very reminiscing of other bands, but most of all the saxophone on every song. It's not even good sax, (good sax, is always and forever sexy sax) it sounds like lazy sax cause they have the charisma of the toothbrush you keep for bathroom cleaning. After this album, I am unsure if the starting thoughts have any validity to them. Has any of them ever met a girl?

This album is quite deceptive, in the sense that it takes a couple of listens to really understand it. At first glance you may wonder why it's on this list, as it is not reinventing any wheel, or really a sound that is very unique to them. After spending the day with it, I started to get it more, my initial reaction of "why this one?" softened. Some songs are really all time great. Helicopter is perfect for example. In general, the writing is quite precise and succinct, albeit not very specific or original (Desire Line for example is a good song that doesn't say much in terms of meaning). It leaves the impression that the words are kinda working for the music, rather than the other way around. It doesn't need to be that profound of a meaning every time, it's much more about the sound of words and the syllables in my opinion, none of it feels accidental or there as a flourish. It's very much precise, which is interesting given the diversity of sounds. It's not all "dream pop" and the soundscape is quite larger than the opening would suggest. So it has ambition, which is important to me in rating and appreciating an album. However, it is not perfect either, I still think it starts at track 3 though, and the first two are skips in my opinion. I don't think it's revolutionary, or a must listen, but it's nice, it's solid, and very much a window in indie 2010's. That sound in the larger sense deserves recognition on there.

I hate this. It's melting my mind how boring it is. I understand that this is garage rock epitome, a classic by a legend. But there is no writing, ("give love a chance", "I keep fuckin up". How clever, how novel). And I know and love some of Neil Young's work, he can be incredible if he wants too, don't know why he decided to make no effort here. I get the concept, it's supposed to be jamming and music that is free, but the "improvisation" doesn't work, all the songs are incredibly too long and don't seem to land. They don't go anywhere interesting, they don't feel fresh or coming from the heart, they feel lazy and bloated. In a way, it does succeed in doing what it aimed, it does feel like a jam session, one with your dad making music with his buddies from work. No freshness or originality whatsoever, sounds dated even for the 90's. Wouldn't be here if it hadn't the brand Neil Young. No.

It's big and brassy but so so short. Goes by in a flash. Very sexy and full of passion. I dont really care for the second track and it's 1/4 of the album, so can't be a five but glad to have it.

This is bad. I guess one is a good enough song, but nowherere near good enough to warrant the inclusion of the whole album, and it does feel like that. The rest is uninspired filler, except may be Mysterious Ways which is barely ok. U2 has albums that are a lot better, this one should not be there. I will finish this list someday, and I know I'll always wonder why this one is in, and so many aren't. It shouldn't be and I am already mad

Interesting album, very much a staple of a certain sound, and overall I found the soundscape rich and diverse. A couple of things are holding it back in my opinion : it's too long, some songs deserve an edit, and I could cut one or two, that would make the project more concise and be more impactful. It's also very much rooted in the 90's and therefore sounds quite dated. That is not necessarily a problem, cause it's a good example of that type of music, but I always gravitate towards music that feels timeless, and in my opinion the greatest songs can manage that. i would argue Portishead for example, even though it's very much rooted in the 90's sound as well feels a bit more timeless and albums like Dummy will always get an edge. Dated album loose their avant garde edge or the experimentation to it comes at a wash in time. That doesn't mean it's not great, but that means that the surprise factor isn't there when I can really put music firmly in a certain decade. Here that is my impression, it's good, I understand why we should listen to it, but it feels a bit too exemplary and not sparkly on it's own to truly be a standout.

Better than other U2 project but still not great as an album. Sunday Bloody Sunday is a hit, no doubt about it, and I found the album more coherent and lsitenable. But there is still a lot of filler song on there, and the ambition of the band sonically is not there. I am not mad at this inclusion, but is it a must listen gorgeous thing, no. It's not reinventing anything, it's just nice enough.

Above all else it is very fun, this album is full of energy, full tilt, therefore may be a bit exhausting by the end of it, but it is a ride I don't mind at all. At the same time, while fun, it takes itself very seriously, which does add a tasty layer of camp to it. (the moaning on rocket queen being peak). The riffs are cool, and sonically it is trying different things in a very maximalist fashion. This strong point is a bit dimmed by the writing, which is a bit hollow especially near the end of the album, (You're Crazy / Anything goes). That is a small grip, since given the way Axl Rose sings, it is barely intelligible anyway. At the end of the day it has most thing I like in an album, it has ambition, kinda like they were very much trying to do the best thing they could, and with a sound that is very specific to them. Very strong album, albeit not perfect.

This is a solid album, but the heaviness (in particular in sounds) weighs it down. I do think it is too cohesive and in his own world to truly be great in my opinion. There is no question it should be there, or that it is worth a listen, but I understand why the hit is Nothing Else Matters, a gorgeous song, and probably the only one who doesn't sound like the others. I also think the songs are generally too long, 1H plus for twelve tracks it feels quite slow which is surprising for a metal/rock album. On the positive side it has energy, depth, and ambition. I could have used some fun, but overall I did enjoy listening to it

A fantastic album, rich, diverse in sounds and instruments it has everything I love in an album. I think it is music that has depth, a point of view and a soul behind it. Everything as a sound and a purpose, and it is a journey to go through, full of excitement and diversity. There is very little to complain about, I may not like the final song very much for example (Ingoo Pow-Pow), but I also love that it is included because it sounds very different from the rest while still being tied together by the same brilliant person behind it. Honestly the blend of different genre is absolutely excellent, it works for me in the smoothest way, and I am really glad I got to hear it.

I am pretty sure that if that album was made by a man, or even a less "controversial" figure than the lead singer, Courtney Love, this would be mandatory listen to any music fan. It is wonderfully diverse in sound, full of hooks, and intelligent writing. It can be both angry and energetic, soft and touching, it goes everywhere but still tied together by charisma and the state of California. This is very solid in my opinion, I thoroughly enjoyed most songs, there are only a few misses in my opinion. (Hit so hard, Northern Star even though it has a pay off). People saying it is pop-y are kinda missing the point of the album, whichwas evolving their sounds, and some of it is also quite rock leaning. I see hard work, I see talent, I see charisma, really really good.

Jesus, this is a difficult one to rank. I am a big Radiohead guy, I fully expect most, if not all, of their album to be on there. It is brilliant, it is meaningful, if it were the first Radiohead record I heard I would be blown away. It is however, not the best in their discography. In fact, it is my second to last favorite. This one I can live with a four, cause while brilliant it does not move the needle that forward, it is a bit samey, a bit long. But some of them are gorgeous songs, and it absolutely should be on there.

This record, while mostly good, is also nothing to write home about. There was better music at the time, before and in the future. This is typical unnecessary "legacy pick", but I would argue that very few people have heard of the band, and I totally get why. Why no one can call it terrible music, classic country rock/americana has been done a lot better elsewhere, and it is a bit boring. All I hear is different people's music while I listen to them. The Beatles in When you Awake, Little Richard in Rag Mama Rag, and Creedence Clearwater revival, and Johnny Cash. What I mean is the band is appropriately named : they have no sound of their own. Can they make a nice song ? Absolutely. I hear several songs I like, Look At Cleveland, The Night They Drove Old Dixie Down. Is it music you need to hear ? No. Is it Dad Rock I'm bored by ? Hell yeah.

I must say, I knew this album, front to back, fully expected to see it in this list. This is truly an all time great album, colorful, extremely tight and always interesting. It feels like a band at the height of their powers, owning their sound. It is very much experimental and froward thinking, the writing especially is interesting, it is all about the sounds, all about how words fit and ring in your hear, creating a poem in a very surrealist way. It creates a kaleidoscope of very "them" sounds and everything feels dreamy. I think this album is a lot more influential than people give it credit for, I often hear it in productions of today. It has waves, places to go in a self containing world, ambition and heart, it is quite simply, one of the best album I ever heard.

This album is clever and feels fresh for 1977. It is also a lot more complex and melodic than you would typically find, which keeps it interesting and therefore relevant to this day. The most surprising part is the writing, most tracks have. double entendre, twists or imagery that are well worth my time. “Venus”, just for example, is such a strong piece of writing, a metaphor that could mean different things to different people, be it a lover that is a letdown, drugs and the low following the high, but you get the imagery even if the actual meaning is polysemous. Falling “right into the arms of the Venus de Milo” (an armless statue of the goddess of love), is such a strong concept without being literal it really scratches my analytical brain and I’ll keep that song forever. It also has less clever sex jokes, but on those, the music full of cool guitar riffs that are interesting to me, the doubling guitars make their sound very unique. The album is however not perfect, I think some swings are misses like Prove it, which is a fine song, not hugely entertaining or special and something I have heard a 100 times before. When you have 8 tracks, you can’t really afford a 5-minute detour like that in my book. I also really have a difficult with Verlaine’s voice, but that is entirely subjective and something I can get passed. In the end, I think the highs are well worth the side points, and this is dad rock I wholeheartedly back, I am glad I heard it.

First up fuck Iggy Pop, fuck the song Sixteen and fuck him. Sable Starr was 13 years old. I understand, "it is another time", but I don’t give a fuck how sexy her leather boots are, fuck no and fuck you. And just in case you didn't grasp the point this creep is making in Sixteen, “Fall in love with me” hammers it home. Now, the music. Passengers is an all-time great melody. The writing, (riming sky with sky for example) is not all time great. I will add that if in your album, the parts I’m searching for and looking forward to the most are the Bowie parts, then that says a lot about you. There is no hidden gem on there. Sure it is not horrible musically, but does it deserve posterity as an album : no. Fuck this.

I’ll tell you what I can leave behind U2 : every single one of your albums. I only uncovered 47 albums out of a 1000. 3 of them are U2 albums. I feel cursed, like somebody hates me and wants me to quit this project. I apologize to the music gods, stop waterboarding with the blandest tap water in the world. Listening to this record in particular, feels like waiting in line. It is only kinda bearable in the beginning, mostly dull and the payoff is never worth it. I would rather do anything else than wait in line ever again.

Interesting album, important for music history, but often very annoying. I mean there is a song that has kazoo in it. It is all too long, I don't need half of what is there, but it is a swing and I respect the ambition, I embrace the weird sounds, the trying. I don't like it, but it is better than when they are trying to emulate what is popular at the time.

Interesting album, and a cool concept. The two visions blend super well, I might like the first part a little better, more cohesive, but also, Hey Ya is a smash if I ever heard one and with this double album it has a lot of diversity of sounds and that is picking my interest. It is however not a five, it is too long, and it is really weighed down by all of the interludes that reaaaally feel like filler tracks to keep the structures. Some are fun, but not all of them, and there are definetly one too many. That being said, it is powerful, smart, and a good listen.

Good album, very telaxed and chill for Bowie. It has moments of brilliance and some let downs (Accross the Universe obvi) but overall I enjoyed hearing bowie in this vein. I did not know this one beforehand, (aside from Fame) though I love Bowie, which made that listen very enjoyable for me. Though the simplicity kinda shocked me at first, it is only after a couple of listen that I got the vision. It is a good hommage to a different sound, one he seems to claim as a parent to his own sound. Is it as iconic as the rest? No, and it doesn't have a smash like sime of his other record. But mellow Bowie is still great, still a legend and the Lenon influence is interesting.

A tough listen, incredibly sad. Beautiful sure, and Cohen's voice is deep and gorgeous but man is it a depressing specific mood. Famous Blue Raincoat is an incredible song, and the stand out there. I couldn't do it justice, it is powerful and s statement of a song. Overall, as an album I think it's mostly good, albeit a little simple musically, but I get what it's going for : devastating poetry. It is effective in that. The length of most songs are a bit long, and overall it is weirdly structured : too coherent sonically, too different thematically. That being said, I don't really mind it here, it creates tension, and the album is only 8 tracks and most songs feel there are here for a reason. I don't like all of them, Diamonds in the mine is the "breath" I get it, it's almost a parody of pathos and strange, but it is also a song you hear once and never want to again. "Sing another song, boys" is also the slowest song I ever heard, every word is streeeeeeched and it makes it barely listenable. That being said, I get them in their context, but they keep the album at a solid three for me.

Ambivalent about this. Too heavy on the drums and repetitive for my own personal taste, but the hooks are often undeniable. I love some of the song writing (Michael for example feels fresh and is fun) but it is also often the dumbest (Cheating on you is a crime). It does sound like a lot of different things, nevertheless, it ushered a wave of groups trying to replicate this sound. What I find most interesting is the fact that for a band that does sounds like a rip off of others, they have been ripped off too. Their music while very referential, still sounds sorta fresh 20 years later and that is interesting. That being said, a swing and some hits spells out middle of the road album to me. Nowhere near terrible, nowhere near great, and that is not the reaction I want : I want more.

I expectedthat one, and I expected it to be the Psycho Killer show, a dreadful one track album, but to my delight, I was dead wrong. This is a great album full of melodies, of course, killer base lines, and a diversity of sounds I didn't expect and it was quite refreshing. Most songs on there still hold up, they have things to say and places to go, and they sound quite distinct from each other still creating a somewhat cohesive sound. That is hard to do on an album and in particular in your debut album. Of course Psycho Killer is that bitch, fun and with a base that is mandatory listen for any bass player. Pulled up for example is fun, (and the guitar lick sounds like a strokes one in a crazy way ? at 1:49). The Book I read, is very cool too. Overall the hooks are very strong, and I hear a lot of the music of today here, which can only speak of it's level of influence. However, they are minuses there, some lyrics are very icky. It is not a writer's album which is fine, but please don't be problematic. Tentative Decisions is a bit old fashioned in the stereotypes it carries, girls are having a hard time following "logic", and undecisive. (They should meet a libra man) It's an otherwise fine song but the sexism gets somewhat of a pass because of the printed lyric booklet that says "Repeat with reversal of gender" indicating it is somewhat satirical. It should have been said out loud though, and the satire make more clear. That is too me, a default of writing, cause just listening doesn't carry the message too clearly. That being said, the fact that there is even a bit of satire, for 77, it's better than most. I also have other issues, (like No compassion, screams privilege also) but those are minor and I choose to not focus too much on the messages. Overall it is fun and quite interesting as a debut album!

So very cool, as an album. The songs are a bit long, but the panel of sounds, the base lines, and his voice are all great great assets. There aren't that many record like this out there, hence why it is important that this one is here.

I came in thinking this album would be here because Bowie died two days later. In a sense, I was right, but what an album. Thematically it is incredible, talking about death and the place of the author in history. Musically it is Bowie meets Radiohead in a way, and it sounds tired in an interesting way. You have earned your rest Bowie, thank you.

This album is not revolutionary by any means. I understand the Brian Eno, the use of synthesizers (that were a thing before you know) but I don't really care, I was bored. While it does slap at some points, it is also music I have heard lots, that could be made by any one else. The writing is moronic often ("she said sloppy", the use of yeah yeah yeahs). It also borders on offensive, Mongoloid and Gut feeling/slap your mammy, but that album is so minor that I don't know that it need to be said that much. It's not a one, cause I appreciate the edit to remove the laudation of violence against women in the Gut Feeling edit, and the fun moments, Uncontrollable Urge and Praying Hands are there. But I'll probably never listen to it again and be absolutely fine.

This is cool, with a sound palette that is expertly crafted. The hooks are at times great and overall it does sound impressive, and the vibes are great. Soukora in particular is very gorgeous. Overall though, the songs are often too long, and it does at a point get a bit repetitive as an album to be truly spectacular.

A fun ride, that at times feels a bit disjointed. I don't know if it's the two voices, but I feel like they are two different album, some classic rock that is well made but not that inventive and some experimental that is rougher and a bit noise adjacent. I found it interesting mostly, it gives scope, but they are not that many band like that one. I also think it is a tad long, but man they had a lot to say about the world.