I wasn't really familiar with Steely Dan, and it was nice listening to their album “Countdown To Ecstasy” because it's an exciting mix of pop rock, hard rock, jazz, and blues. I like the jazzy sounds and arrangements on “Bodhisattva” and “My Old School,” but also the very clear and catchy vocals on “Razor Boy” and the rougher-sounding “The Boston Rag.” This is exactly the kind of music I was expecting when I signed up for the daily album challenge. It won't be my favorite album going forward, but it's a very nice discovery.

R.E.M.'s Michael Stipes calls Grant Lee Buffalo's “Fuzzy” the best rock album of 1993. Apart from the fact that he obviously doesn't have exactly the same taste in music as I do, this shows two things: 1. 1993 was a rather disappointing year in terms of newly released music albums, and 2. “Fuzzy” is clearly not as bad as I honestly expected it to be, based on the band's name and the cover. Unlike other largely acoustic alt-rock albums from the early nineties, it is actually quite varied, and Grant's distinctive voice gives the songs (apart from a few uncertainties at the beginning of “The Shining Hour”) a nice individual flavor. Not bad!

Although I was never a big fan of Metallica, “Master of Puppets” is undoubtedly the pinnacle of thrash metal. Since it is one of the few "all killer - no filler" albums, I find it difficult to single out individual tracks. Nevertheless, “Master of Puppets” (every serious guitarist has learned this song—including Eddie Muson, of course ;) and “Orion” (every serious bassist... you know) still stand out! It doesn't get any more legendary than this!

Already being one of my all-time favorites, it was a pleasure to listen to “Electric Ladyland” again. “All Along The Watchtower” and “Voodoo Chile” are among the most important Jimi Hendrix references, but The Jimi Hendrix Experience line-up was so strong and well-rehearsed in 1968 that every song becomes a very special experience in its very own right. As said before - always a pleasure.

I'm not sure if Abbey Road needs another positive review. But here it is: Abbey Road shows the Beatles at their best, with great songs (“Come Together,” “Octopus's Garden,” “Here Comes the Sun”) and their distinctive humor (“Polythene Pam,” “She Came in Through the Bathroom Window”). Undoubtedly a must-have.

“Born in the USA” is Bruce Springsteen's most famous song and also the title of his most famous album. While I was already quite familiar with the title track, I had only heard the rest of the album once or twice. And I have to say that now that I've listened to it more closely, I'm pleasantly surprised. Of course, not every song is as catchy as “Born...,” and this album is anything but complex, but Springsteen's voice still sounds pleasant even after ten songs, and I personally like the powerful yet transparent 80s sound (yes, I like a serious snare drum ;).

An important lesson for every aspiring songwriter is that music without any recurring elements is very tiring to listen to. On this album (and presumably on every other recording), Fatboy Slim shows that the opposite is also almost unbearable. From a capitalist point of view, this approach is of course absolutely admirable: with ideas that are normally only enough for one song, he fills an entire LP, from which several successful singles could even be released. This is of course not fraud, but market economy.

In my opinion, “Dirt” by Alice in Chains is the most important single album of the nineties because Jerry Cantrell & Co. succeeded in creating the connection and link between the groundbreaking releases of the “Class of '91” (i.e. “Nevermind” by Nirvana, "Ten" by Pearl Jam, “Badmotorfinger” by Soundgarden, “Blood, Sugar, Sex, Magik” by Red Hot Chili Peppers, “Use Your Illusion I/II” by Guns'n'Roses, “Metallica” by Metallica). Every harder band that followed ultimately built on this foundation—with today's ears, you can already hear the source of inspiration for such diverse bands as Korn, Creed, Avenged Sevenfold, and Disturbed on “Dirt.” A milestone in rock history!

Describing Madonna as a singer doesn't really do her justice for several reasons—I see her more as a style icon who is deeply rooted in the 80s. This makes her change in style and image, which she achieved in the late 90s and which is evident in “Ray of Light,” all the more admirable. However, I don't particularly like the rather dark electro style of the songs, and I don't think it suits Madonna's voice, which is unmistakable but not overly distinctive. It's worth a listen, but it's not much better than I remembered.

For me, Dylan is one of the best songwriters of all time and, as a result, one of the most covered artists. So I was all the more delighted to listen to “Bringing it all back home” in its entirety. From the information available online, I gather that this album received mixed reviews due to the partly electric instrumentation on side A. However, I believe that the bluesy, rockier sound suits each of Dylan's seven songs perfectly—it's no coincidence that most of the covers mentioned sound this way. Side B features more classic folk songs, which are just as strong—but a little more predictable for my taste.

I have now rated just over 50 albums and, as an interim conclusion, I can definitely say that there is too much new wave/80s synth pop on the list. Nevertheless, when looking back at pop history with a comprehensive approach (and a list of over 1000 albums must of course have that), there's no getting around a-ha's “Hunting High And Low.” In my opinion, “Take On Me” is as 80s as it gets and probably one of the most influential songs of that decade. I actually still had the title track in my ear, even though I don't think it's that great. To be fair, I have to admit that “Hunting High And Low” is a piece of music history with considerable earworm potential. But my new wave quota for this year is now used up.

The Cars' debut album of the same name is a wild mix of classic rock guitars, new wave vocals, art rock keyboards and synthesizers, psychedelic drums, distinctive but minimal bass, wild experimental sounds, and 70s cheesiness. Remarkably, this balancing act is largely successful, which I believe is largely due to the simple but compelling compositions, the coherent production, and the truly strong vocal harmonies. Under the conditions described, less is often more, so the more straightforward songs like “Just What I Needed” and “Don't Cha Stop” work best. Of the more opulent songs, I can recommend “You're All I've Got Tonight” and “All Mixed Up.”

How did this album make it onto this list? I ask myself this question especially when it's by a band that didn't exactly invent rock ‘n’ roll and that I know has recorded at least two significantly better albums. “Aha Shake Heartbreak” sounds as if someone had deleted Angus Young's tracks from AC/DC's Powerage. I mean, I like it when the guitars leave enough space for the bass, but here the sound sometimes falls apart. That really shouldn't be the case with a 21st-century production. It sounds like a talented high school band with an above-average singer—which isn't too far from the truth, and you can't blame Kings of Leon for that. But I'd really like to know what was going through the editor's mind.

Of course, I already knew Dusty Springfield, but not her debut album “A Girl Called Dusty.” But even here, she already offers what she is still known for today, namely the classic swinging 60s sound, which can be placed somewhere between Broadway, Motown, soul, and European pop and folk music, with interpretations that are characterized by her unmistakable voice. In addition to “Mama Said” and “Don't You Know,” I like “Nothing” — Dusty's only (!) original composition on this album. Not bad!

“Scum” by Napalm Death is THE benchmark for grindcore and the tipping point from crust punk to grindcore. So, if you're interested in extreme metal in any way, this is a must-have. However, as my interest has been rather sporadic so far, I didn't really know the album yet. It's obvious that this kind of music is difficult to assess using classic evaluation criteria, but I can at least say that “Scum” is surprisingly accessible. It's definitely worth listening to - if only out of interest in music history!

At the beginning of Marianne Faithfull's album “Broken English,” the song of the same name sets the tone: sequencer bass, synthesizer, guitar with lots of reverb, and, of course, the monotonous drums typical of new wave, where you're never quite sure if it's not a drum machine playing—and, of course, Marianne's distinctive voice. Unfortunately, this formula remains unchanged throughout the other seven songs, and the mood stays pretty much the same throughout. It's a shame, but in the end, what remains is mainly boredom.

This is my third attempt connect to the music of the Talking Heads, and this time I've somehow managed to do so. It's still pretty cheesy, and I still don't particularly like it, but I can now appreciate their innovative potential and influence on subsequent artists.

How did a sampler (!) with 1.5 hours of repetitive beep boop even make this list?? Are you kidding me?

Lenny Kravitz is simply a cool guy and an incredibly talented musician. This was already evident on his debut album “Let Love Rule,” which is really worth listening to. I find it remarkable that the songs are so different that I don't really want to single out any one of them. On the other hand, Lenny manages to convey each of the 13 different moods convincingly and fill them with his personality. It makes sense that he was compared to Prince early on—even though I see him more as a successor to Jimi Hendrix in terms of style. Strong debut!

To my mind, "Papa was a Rollin' Stone" alone actually calls out for a top rating, but the other songs cannot really keep up with this - even though they're by no means bad. In summary, “All Directions” is a good album but it becomes a must only because of the Temptations' signature song.

I enjoy listening to jazz from time to time, but I find it most exciting when it is combined with funk grooves or world music elements. On “Home is Where the Music is,” Hugh Masekela integrates both in a wonderful way. This album is great to listen to in the background, but you can also listen more closely at any time and discover interesting details. Easy listening but never boring—that's how jazz should sound!

“We were never boring,” sing the Pet Shop Boys in the first song on “Behavior.” I don't know their earlier work well enough to judge, but at the very least, the next line should be, “but now we're starting to be.” The tracks aren't really bad, but somehow you expect something like a camera pan through a canyon or a montage of the day's images, or at least something relevant or interesting that this music can play in the background without distracting from the images. But I don't understand what this album is supposed to be good for on its own.

“I no longer want to be a man. I want to be a horse. Men have small thoughts. I need a tail.” Perhaps Liars should have been granted this wish, then we would probably have been spared the next 40 minutes... Apparently there really is a target audience for this “music,” so I gave it a second try and discovered that further back on “They Were Wrong So We Drowned” there are actually occasional hints of song structures. You have to imagine it a bit like Gregorian chants, except that most of the choir isn't singing, but rhythmically banging on whatever is available—kitchen utensils or furniture, for example. It's certainly innovative in some way, but you really don't need to hear it before you turn into a horse.

Of course, I knew about this album, but I never took the time to listen to it in its entirety. “The Wall” is a harrowing masterpiece and, in many ways, it is off the scale. What impressed me most was the incredible timing when the speed, rhythm, mood, or atmosphere changes. I knew this was a monumental work, but it has also aged very well. At least 5.5 stars.

Generic early 90s Alternative Rock - probably called Grunge at that time - without the edginess of the better known acts (Nirvana, Pearl Jam, Soundgarden, Alice in Chains - you name it). The kind of music we would have played at school and no-one would care. OK-ish but Petty. Probably a good starting point for "1001 albums you can ignore without missing anything"

Legend - kind of... Megadeth was always defined by the brilliant instrumental work by Dave Mustaine and his mates that was far superior to his former band (Metallica). However, his questionable decision to take over the vocals by himself limited the recognition by a broader audience. Peace Sells ... defined trash metal at its time but in my view, the best of Megadeth was yet to come - thus it is not a 5/5 for me. Did I mention the iconic cover art work?

This is the third album I was proposed and the third that would not be on my list. I was aware that there would be albums I do not know yet and I was not going to like them all. But I was not prepared for something this bad. Not sure if I should adjust my earlier reviews now. Oh, seems I cannot send with zero stars...

I have never been that much into Metallica, but this album proves that even a technically limited band can still produce great heavy metal stuff if they are musically talented, write songs with sophisticated rhythm structures and play it tightly. Apart from the title track, "One" is the other track that was still in my ears after decades. Clearly the second best Metallica album (Master of Puppets being #1 of course), for me actually four-and-half.

One of my motives for joining this project was to learn about artists I do not know well yet and this absolutely fits the bill. The title sounds like blues philosophy but that's not what I found inside. Instead, this is relaxed singer-songwriter stuff with some nice instrumentation (yes, vibraphone) and lots of air to breathe (or to smoke weed, given the publication year). Apart from "Strange feelin'" and "Gypsy Woman" ( which might have partially inspired Krokus' "American Woman"), I really like the simple but very effective bass lines throughout this record. This stuff is far from legendary or making my playlist, but it surely held a nice surprise!

When published in 1988 this must have been far ahead of its time. Nowadays, it gave me a nice and relaxed listen - clear and distinct R.E.M. sound but not too exciting. Actually 3.5 stars for me

Now we're talking! Aretha (one of those people who don't need a last name) is the undisputed Queen of Soul and this is her signature album. Starting with "Respect" which alone would already justify five stars, every single song is carefully arranged around Aretha's legendary voice at it's best. Had it on repeat all day, this one never gets old!

It was interesting listening to an artist that was almost unrecognized here in Europe at that time. Willie Nelson was part of the outlaw movement (more or less started by Johnny Cash) in the country music scene but this album contains only cover versions of standards. While the (actually great) songs are nicely arranged, Nelson's voice and his straight and sometimes even hectic timing ruin much of the vibe known from other artists singing those pieces. Nice try, but doesn't make too much sense to me

The Pretty Things clearly spent some time experimenting in the studio, figuring out what gear was meant for recording and what was meant for rolling. I think some of the most ridiculous parts of Spinal Tap (Listen to the Flower People) were inspired by this. This was fun and yes, you should have heard this album before you die. However, once should do though

Man, young Elton John had a great voice! I like that raw timbre far more than the bling bling version of his established in the 80s and 90s. The songs in contrast are far too repetitive for me and none of them really caught my ear. All together a solid listen

Classic 70s Pop, performed at a very high level, but not exciting at all. Kind of a solid listen but in this given context, it's more on the disappointing side. Edit: after 90 albums, this is at least average in the given context

Definitely not my cup of tea but some of the songs are not too bad ("The mother we share", "Under the tide"), so I can justify 2 stars.

I find it difficult to rate this album. Although garage rock in general and The White Stripes in particular have a high coolness factor, I hadn't realized how bad the production actually is. Yes, I know that this is part of the concept, but after three or four songs, the imprecise timing really annoyed me. I'm giving it a second star for coolness, but honestly, almost 25 years later, this album is pretty rubbish.

I am not at all into hip hop, but I find myself nicely surprised by the relaxed attitude and the funky vibe of this piece. Unlike other hip hop collectives, Jurassic 5 don´t pointlessly shout at each other or the crowd but create a comprehensive and harmonic whole from their very different voices. In some tracks, guests add even more color - just check out "Thin Line" with Nelly Furtado. Ever thought about creating a series "Rappers that don´t suck"? This would make a good starting point! Still hip hop but far ahead of any other I heard so far.

When I saw the name Beck (without Jeff in front of it), I didn't really feel like listening to the album. However, I have to admit that it's not as bad as I remembered it being. I like the mix of more or less traditional Blues/Folk songs with crossover elements (like e.g. in "Where It´s At"). At that time I found it creepy but now it´s not that bad. Not exactly great but at least not boring!

Wikipedia introduces this album by stating that it failed to chart, and it only takes a few minutes to figure out why: primitive lyrics, simple musical structures and an overall appalling lack of creativity create the most irrelevant music imaginable. The only surprising thing about this album is that such an uninspired work made this list. But there is also good news: after 32 minutes, it's already over.

This album, released in 1966, was way ahead of its time—as are most of Frank Zappa's works. From sophisticated picking to kazoo melodies, from orchestral arrangements to pure chaos, The Mothers of Invention use the entire palette and play it with great timing. For me, it's not quite top notch, but it's certainly a very good and very influential album.

When “The Man Machine” was released in 1978, it must have been straight-off avant-garde. Moreover, the album is extremely clear and tastefully produced for its time. Unfortunately, despite all its professionalism and quality, the “songs” remain nothing more than ringtones to me - perfect as the soundtrack to a retro computer game. As standalone music, however, I don't think they have aged too well.

"Pornography" is a fitting title for this album—it's almost embarrassingly explicit, but sometimes seems unrealistic. Be that as it may, some of the songs are painful, and it's certainly in the eye of the beholder and depends on their mood whether that's a good or bad thing. In any case, this album is an impressive testament to the early days of gothic rock. Recommended tracks: “The Hanging Garden,” “The Figurehead,” and “Cold” have particularly stuck in my memory.

I kind of like Coldplay, but this isn't exactly their best album. Sure, there are a few good songs on it, “Clocks” for example, but they've had better material.

Many recordings from the 70s have a certain cheesyness about them, and this one is no exception. If you can overlook that, this album is really enjoyable. I mean, how bad can music with Bootsy Collins on bass be? Apart from the single releases, I recommend "Unfunky UFO".

Although "Brutal Youth" was published in1994 when I was consistently looking out for the latest music, I did only recognize the cover but remembered none of the songs. I instantly liked Elvis' voice, but a few seconds later wondered why he didn't book a pro guitar player for recording (or elaborated more at least on the electric guitar tracks himself). Hence, the upbeat tracks (e.g. "Kinder Murder", "20% Amnesia ) sound much like a 90s school band to me. As a consequence, I can recommend the tracks without much electric guitar like "You Tripped at Every Step".

That was a nice surprise! I can't remember ever hearing this band before, but they're really great. Their music is suitable for both relaxed listening and close listening, when you concentrate on every nuance of their playing. I have no idea what to call this kind of music, but I like it! I would say it's pop rock, but with a world music approach, jazz influences, and an extremely tight and groovy rhythm section. The only thing I'm missing is something really catchy. Approved!

Now this was challenging. The white album is actually two albums - one solo album by John and one by Paul plus some extra stuff by George (among them the great "While my Guitar Gently Weeps"!) and Ringo - totally shuffled. A significant share of the songs are actually parodies of other stuff running at that time, making the album even broader style- wise and thus less coherent. For me, the Beatles always stood out by combining various styles in each of their songs. In contrast, the white album features a new style in every song. Hence, I personally found it less convincing than I had actually expected (because I like the experimental approach).

“Meat is Murder” by The Smiths is one of the more inconspicuous albums suggested to me so far. I like the fresh, transparent sound and the powerful production, as well as Andy Rourke's concise bass playing. The songs go well with Morrisey's distinctive voice and contain a few nice ideas, but for my taste they tend to get lost in trivialities and lose momentum as they progress. That's probably the definition of a solid listen.

I like Yes, but I'm surprised to find this particular album on the list. “Close to the Edge” is undoubtedly a fine testament to the musicality, technique, and enthusiasm of this band (e.g., “Siberian Khatru”), but for me it's not the ultimate reference. A very good album, but not in the highest category.

I don't exactly like electro pop, but Heaven 17 is not really bad. Some of the songs, including the title track "Penthouse and Pavement" have some catchy melodies, so I can understand there was some audience for this kind of music. Needless to say most of the album is absolutely cheesy from today's view

“She's So Unusual” is the first and most iconic album by 1980s pop and new wave icon Cyndi Lauper. You could say it's full of clichés, but that's because she actually coined those clichés. And of course, also the cover adds to this. I think that even today, literally everyone knows “Girls Just Wanna Have Fun” or “Time After Time.” So, yes, you should know this album (unless you don't really care for music, but then you wouldn't be reading this).

To me, "Sgt. Pepper's Lonely Hearts Club Band" is the ultimate classic Beatles album. It starts with the incredible triad of the title track, "With a Little Help From my Friends" and "Lucy in the Sky with Diamonds" without losing much of the momentum afterwards. I guess this might be the most reviewed album of all times so I see no point in adding more.

Despite its French-sounding name, St. Etienne is a British band, but to me it actually sounded as if it were rooted in French culture. “Fox Base Alpha” is technically good but otherwise fairly insignificant 90s pop. I can't think of much else to say about it that's worth mentioning.

Miriam Makeba's debut album of the same name offers a colorful selection of songs that are more or less based on traditional songs and are kept in a style that was contemporary for 1960. From Wikipedia and contemporary reviews, I gather that this album was the starting point for a broad international awareness of African pop music. Against this backdrop, it is a highly entertaining milestone in both world music and music history.

For me, B.B. King is actually the king of the blues and this record shows why. Lucille (that's his guitar's name) and his voice were so unique, they could fill just any venue and make the crowd cheer with joy. This is remarkable, as blues is said to "not make you feel better but make others feel worse". If you like the blues, you'll love "Live at the Regal". If you don't, you won't get it.

Electronica will probably never be my favorite but "Strange Cargo III" actually has some atmosphere, ambience and even dynamics that make it nice background music. Given the technical options of that time, William Orbit must have spent a significant amount of time in the studio carefully producing the patterns and arrangements. Not exactly for me but a very respectable work

Wikipedia states that the Incredible Bongo Band's "output consisted of upbeat, funky, instrumental music". What it does not mention is that this music is randomly interrupted by ridiculously monotonous and repetitive bongo, conga, whatever drum parts. That's a real shame, because the overly simple and undynamic drum sections detract from the professional impression made by the songs, which are actually good and carefully arranged. Sure, it was a contemporary experiment in the early 1970s, but from today's perspective, it was a failed one. What a pity!

Kind of Blue is the ultimate jazz album and, in addition to its great concept, features one of the best combo lineups imaginable (Coltrane, Adderley, Evans/Kelly, Chambers, Cobb). Personally, I really like the modal approach, as you can add or reduce any timbres at any time, thus achieving an infinite number of expressive possibilities. On this album, Miles Davis and his band demonstrate what can be achieved with this approach, while at the same time opening up the field for all styles of jazz that are no longer strictly based on chord changes. And each of the five pieces on “Kind of Blue” is a legend in its own right.

Primal Scream's "Vanishing Point" is a nice, mediocre psychedelic rock album. What confuses me is that it was only recorded in 1997—to my ears, it could be much older. That already points to my biggest criticism: I expect at least a certain degree of innovation from the albums on this list, but this album is so generic and predictable—if not downright boring. My summary says that I like psychedelic rock (and I do), but for me, Vanishing Point is average at best. So, yes, it's a solid album...

This is going to be an easy review. A guy who spouts random nonsense, accompanied by a short-circuited keyboard—you could say that Dizzee Rascal's “Boy in da Corner” has everything I don't need. It's the classic “songs for people who don't like music” stuff you find on any random rap record. I admit that the beats are above average. And of course, it's respectable that Rascal was the first UK hip-hop artist to achieve major international success. Still, I don't like this album.

“The Köln Concert” is a live recording of improvisational pianist Keith Jarrett. While it was certainly exciting to listen to without knowing what to expect that evening, I would classify the recording as somewhere between easy listening and deep focus. Jarrett's broad stylistic repertoire means that the music shifts between different styles and is therefore mostly unpredictable. On the other hand, he manages to weave influences from romanticism to jazz into a harmonious whole without any real breaks. I find it challenging to rate because there are only a few comparable albums on the list—most likely other concert recordings such as “Live at the Regal” by B.B. King. In this context, my conclusion would be something like “nice, but not groundbreaking.”

“This is Fats Domino” was recorded in 1957, and I must admit that for me, it only makes sense to evaluate it from a historical perspective. I largely agree with Fats Domino that the “rock ‘n’ roll” he delivers here is actually New Orleans rhythm and blues. However, the songs “Honey Chile” and “What's the Reason I'm Not Pleasing You” definitely have rock ‘n’ roll vibes. In addition to Domino's legendary version of “Blueberry Hill,” I also recommend “Blue Monday” and “Mardi Grass in New Orleans.”

For me, Leonard Cohen was always more of a poet who occasionally set one of his works to music. Apart from the magnificent “Hallelujah,” this usually involved him reciting his poem while more or less appropriate music played in the background. Against this backdrop, it seems only logical that he tried his hand at synth-based background music in the 1980s. However, I would consider this experiment on “I'm Your Man” to be a failure. On the one hand, the rather lively music, especially on “First We Take Manhattan” or “Jazz Police,” does not fit Cohen's calm delivery or even his voice at all. And on the other hand, when he does try to really sing—as on “I Can't Forget,” for example—he quickly reaches his limits. For me, “I'm Your Man” is not a coherent work overall—not really a disappointment, but rather a testament to the things Leonard Cohen wasn't very good at.

"A Grand Doesn't Come For Free" by The Streets is a rap opera. If you now expect a comprehensive story line or at least songs that build upon each other you will be badly disappointed. Basically, all the songs are about a guy that's mostly either drunk or stoned and thus is not sure whether the girl he's dating is into his buddy. Oh, and his savings fell behind the TV, damaging it. That's about it. Mike Skinner calls this shallow story a concept and even manages to sell an album around this. Another admirable achievement from a commercial point of view.

Isaac Hayes has a great voice, the songs on "Hot Buttered Soul" are nicely arranged, I like the experimental approach with only four lengthy songs... But still, it somehow didn't really catch me. Solid easy listening stuff.

The Bee Gees were great singers and songwriters. Unfortunately, only hints of this can be heard on “Trafalgar.” The album starts with the actually good ballads “How Can You Mend a Broken Heart” and “Israel”, but by “The Greatest Man In The World” at the latest, it's really just more of the same and becomes increasingly irrelevant. I'm not entirely sure why this album sould be a must-listen. Perhaps to properly understand the Bee Gees' later development?

I wasn't thrilled when another album from the 80s was recommended to me. I didn't know The Triffids and expected new wave music, but when I found out that it was actually a folk rock band, I became curious. It turned out that "Calenture" contains some really good songs, at least if you like a lot of reverb on the vocals and snare (the 80s...). In addition to the very professional arrangements, this album contains 12 tracks in the original release, each of which has its own mood. Therefore, it is difficult to pick out individual tracks. The changing drum pattern in “Kelly's Blues,” the main groove in “Hometown Farewell Kiss,” the bells in “Holy Water,” the well-placed breaks in "Blinder by the Hour" or the raw sound in “Vagabond Holes” were highlights for me.

Yes, this album actually contains 69 songs, and I couldn't find two that were exactly the same. Congratulations—mission accomplished! On closer inspection, this project has all the weaknesses you'd expect: many of the songs are difficult to distinguish from one another, some are very short (do they even count?), and none of them have been comprehensively arranged and produced. In other words, the whole thing prioritizes quantity over quality, and I don't like that. The Magnetic Fields brought “69 Love Songs” to the stage, but refused to play it in its entirety in one evening. Apparently, they were annoyed by their own material.

I knew that “The Doors” was a great album, but I hadn't listened to it in a while. And what can I say? It's even better than I remembered! Literally every one of the eleven songs is a timeless classic! What I find amazing is that every aspect of it is strong: of course, the songwriting is top-notch, but the two covers, “Alabama Song” and “Back Door Man,” also fit seamlessly into the whole. Of course, Jim Morrison's characterful voice carries every song, but so do Ray Manzarek's keyboard playing and John Denmore's drumming. Robby Krieger holds back in the interest of the songs—compared to later rock guitarists—but when he does get a solo spot, he delivers spectacularly. When you consider that the members of The Doors had only experience in completely different musical styles before this album, it's the ultimate proof of a crazy amount of talent! I'm usually hesitant to say this, but it's downright magical.

I listened to Jane's Addiction's “Ritual de lo Habitual” three times in its entirety today, but I still have trouble really understanding it. On the surface, this is a really good album that exudes both the atmosphere of late '80s stadium rock and early '90s alternative rock. I have always liked that distinct Hollywood sound in general and Dave Navarro's guitar playing in particular and "Ritual de lo Habitual" doesn't disappoint in this regard. However, according to available records, a considerable amount of heroin was involved in the production, and I suspect that probably none of those involved can say with certainty which parts of the album are intentionally incredibly complex and which parts simply reflect chaos. Sometimes there's a fine line between insanity and genius, and Jane's Addiction crosses it several times in both directions on “Ritual de lo Habitual.” The result is a frightening but also difficult-to-access masterpiece. Exciting!

For some reason, I was never that much into Queen. This, I only knew "Stone Cold Crazy" and "Killer Queen" from "Sheer Heart Attack". After listening to that album twice now I must admit that all tracks are worth a listen and most of them are really cool. Apart from the mentioned well known songs I like "Now I'm Here", "In the Lap of the Gods" as well as the triad of "Tenement Funster"; "Flick of the Wirst" and "Lily of the Valley" that together already give an idea of "Bohemian Rhapsody" that would be published one year later. Nice one!

I read that The War On Drugs was an indie rock band with various influences. However, what I hear on “Lost In The Dream” is technically well-crafted mainstream pop rock, which, in my opinion, is heavily influenced by Dire Straits. However, it lacks Mark Knopfler's unique characteristics and—since the album was released in 2014 rather than the 1970s—any innovative power. It's very good to listen to in the background, but of course there are a hundred other similarly good options out there.

I don't exactly hate new wave, my issue is that it is mostly just more of the same. Some artists managed to innovate or at least give the songs their own vibe. In contrast, all the "Songs From The Big Chair" could be played by any other 80s synth pop band and you wouldn't even realize that it is a cover version. Even the voice is always the same - or did all those bands share the same singer? Is this the definition of "Was OK at it's time but did not age very well"?

I read in the liner notes that Captain Beefheart (aka Don Van Vliet) had difficulty finding a label to release “Safe As Milk” because it was too unconventional. That surprises me, because to me it sounds like a normal blues rock album with great guitar sound (Ry Cooder!) and poorly produced vocals. The experimental elements I expected are few and far between and, for my taste, not well placed. You could probably describe the Captain's singing style as “experimental,” but in my opinion, that would just be a nice way of saying that he doesn't measure up to the Magic Band and their songs. As for the latter, the relatively well-known “Yellow Brick Road” stands out slightly for me.

I wasn't really familiar with Steely Dan, and it was nice listening to their album “Countdown To Ecstasy” because it's an exciting mix of pop rock, hard rock, jazz, and blues. I like the jazzy sounds and arrangements on “Bodhisattva” and “My Old School,” but also the very clear and catchy vocals on “Razor Boy” and the rougher-sounding “The Boston Rag.” This is exactly the kind of music I was expecting when I signed up for the daily album challenge. It won't be my favorite album going forward, but it's a very nice discovery.

Wow, another album of the kind I had hoped for on this journey! I didn't know many of Billy Joel's older songs and have to admit that every one of the nine songs on “The Stranger” is really great. I especially like the rockier and jazzier moments—or both together, as in “Movin' Out.” Very nice, a must-listen!

When a band called “Circle Jerks” releases an album called “Group Sex,” at least for me, it creates a very specific expectation that is by no means disappointed: punk rock of the most mangy variety! The four guys don't bother with (insert any musical stylistic device here), but always get straight to the point: The 14 songs last a full 15 minutes in total, although “Paid Vacation” even takes a few seconds for a kind of guitar solo. Actually, there's nothing really worth listening to on this album, but it's so wonderfully straightforward and funny that I can't give it just one star.

According to Wikipedia, Erykah Badu's “Mama's Gun” is an important representative of neo soul. I wasn't familiar with this term, but it apparently describes a reinterpretation of the soul genre under the influence of contemporary R&B. That may be true, because just as contemporary R&B isn't really R&B, the music on this album is, in my opinion, not soul, but rather simple pop with distant inspirations from soul and hip hop. The record isn't bad, but to me it's rather on the unremarkable side. Probably good easy listening background music.

I've always had mixed feelings about Kate Bush's music. On the one hand, I like her very conscious artistic approach, which sometimes leads to quite unusual song structures. On the other hand, her voice is so high-pitched that it gets on my nerves after a while. And of course, despite the approach I described, it all has that new wave sound that, as I wrote earlier in this project, I've heard more than enough of. The cult factor and “Running Up That Hill” save the album “Hounds Of Love” a little, but for me, that's not enough for three stars today.

I had never heard of Echo & the Bunnyman. The songs on " Ocean Rain" are all in-between styles and to my mind the post-punk label attributed to them doesn't really nail it. Regardless of any categories, I like the more uptempo tracks like "Silver" or "Seven Seas" the best. The whole record is not extremely exciting but surely solid. What surprised me most is that this album was already published in 1984, which means that it has aged very well.

Sonic Youth's "Dirty" has a distinct 90s alternative sound and a few "experimental elements" (most of them are actually intentional background noises). While bass and guitars feature a muddy low-end crunch, the vocal production is crystal clear and the drums - well, sound like standard 90s drums. Some of the songs are not bad (e.g. "Sugar Kane", "Youth Against Fascism") and I like the overall punk-attitude influenced vibe (no, not exactly grunge) so it was a nice-ish listen for me.

I've never been particularly interested in hip hop, especially rap, but there are artists in this genre who stand out from the crowd and create something unique. Snoop Dogg's stage presence and stoner swag make it quite enjoyable to watch him perform. But just listening to it doesn't make sense to me. Even Dre's beats aren't enough to earn a second star.

“The Downward Spiral” is (perhaps together with the early work of Einstürzende Neubauten) the benchmark for industrial music and, as a result, one of the most influential albums of the 90s. Even after 30 years, I still find the opener “Mr. Self-Destruct” rather inaccessible, but it is followed by unusual but really strong material – examples of this for me are “March Of The Pigs” and “Closer.” And surely everyone knows “Hurt,” even if it's perhaps more likely to be the legendary Johnny Cash version. I think this album is the reason why I often find later experimental bands (keyword: noise rock) uninspired—Trent Reznor's creativity, as demonstrated on “The Downward Spiral,” was simply rarely matched after that.

“Tellin' Stories” by The Charlatans is a very solid Britpop/rock album that, for some reason, I wasn't familiar with (well, “One To Another” sounded familiar...). Each of the songs is well written, distinct from the others, carefully produced, and professionally played. That should be a given for any album on this list, but these qualities already set it apart from a considerable number of the albums that were suggested to me. Therefore, I consider “Tellin' Stories” to be average among the 1001 albums.

I find it really difficult to rate Björk's “Vulnicura.” On the one hand, there is a certain intensity in the lyrics and vocals, and I've always liked her experimental approach to music-making. On the other hand, I find most of Björk's songs difficult to access because they contain hardly any recognizable hooks or melodies. That's why, even after listening to the entire album twice, I still don't really understand it. I'm really sorry to say this, but for me it doesn't make sense to transform lyrics into music in this way.

The Fleet Foxes' album of the same name features very relaxed folk pop, enriched in places by nice vocal arrangements. A good example of this is “White Winter Hymnal,” which makes it sound a bit like a Christmas carol to me. I was already familiar with “Tiger Mountain Peasant Song,” but I didn't know who wrote it. Otherwise, I like the Johnny Cash vibe in “Your Protector.” Fleet Foxes isn't my everyday kind of music, but today it was just right.

Country music naturally tends to lack dramatic tension, but Ryan Adams largely compensates for this with good and varied songwriting, an expressive voice, and, of course, the incorporation of various other styles. The result is “Gold”, an appealing album with 16 or 21 songs, depending on the edition, that is really worth listening to. My only criticism is that, for my taste, it contains too many ballads, which tend to slip into the country boredom mentioned at the beginning. Apart from the uptempo numbers - of which I would particularly recommend “New York, New York” - Ryan Adams and his band also manage to maintain the tension in some of the slower songs, such as “Touch, Feel & Lose.” Overall, a strong album that, in my opinion, deserves a place on this list.

"American Idiot" displays Green Day at their very best and the it was the album that proved that they are far more than the one-trick-pony known from "Dookey". Already during the 90s, some punk rock bands (including Green Day themselves) had gone far beyond the traditional 3- or 4-chord 3-minutes songs with primitive lyrics. "American Idiot" takes this to the max and with it's well-placed tonality changes between parts and ironic and even subtile lyrics, this is actually modern stadium rock with a punky production. And even 20 years later, "Boulevard Of Broken Dreams" and "Wake Me Up When September Ends" are still the reference tracks of how far punk rock can go. Liked it when it came out and watched it become a legend.

I'm not a big fan of post-punk or new wave, but the mix that The Killers present on “Hot Fuss” is really easy on the ears. The first thing I noticed was the extremely tasteful bass sound, which is very present but not intrusive. Next, I'd like to mention the very New Wave-esque vocals, which are never annoying. Throughout the album, The Killers find a good mix of their own style and variety in the mood of the songs. In addition to the opener “Jenny Was A Friend Of Mine,” I particularly remember the double pack “On Top” and “Change Your Mind.” Nice one!

"Cloud Nine" by The Temptations is a nice album but I'm nevertheless surprised to find it on this list. I like The Temptations' sound and vibe - so I enjoyed listening to this record yesterday - but I cannot say that something outstanding on it has caught my mind. So, for me it was nice and solid but if you're not into the Motown stuff, it's a waste of time.

Nick Cave & The Bad Seeds have released some great albums. For me, “Henry's Dream” is not one of them, and I'm surprised to find it on this list. There are probably several reasons for this, but in my opinion, this is the album of an artist who has not yet found his definitive identity. It's not necessarily bad, but I don't see it as playing within the given framework.

Nice try! What I'm about to write is probably not correct from a theoretical point of view, but I consider Splint's “Spiderland” to be a somewhat premature attempt to break free from the constraints of 80s stadium rock. The mood created by the harmonic structures (especially the frequent use of the major sixth in minor keys) and Brian McMahan's explicitly non-80s vocal style is clearly similar to what became popular six months later under the label “grunge.” However, Slint did not succeed in creating a new mainstream – in my opinion, because their songs lack the intuitive catchiness of the numerous milestones from the fall of 1991. Instead, from today's perspective, they can be seen as pioneers of the more intellectual approaches that became popular in modern extreme metal – although it was still a long way before the right sound could give the whole approach the necessary impact. Whether the former, the latter, or even both were Splint's ambitions is, of course, speculation. In summary, for me this is a rather immature album, but one that is very interesting from a historical perspective. Oh, and of course, with this approach, it's impossible to highlight individual songs – it's not for nothing that Splint didn't release a single single, according to the available information...

“Stand!” by Sly & The Family Stone is so very 1969 that it almost hurts. The instrumental production, which seems very simple from today's perspective, the organ sounds, the flower power-esque optimistic vocals with wide-open throats, the way melodies are created with a quick drop-off run at the end, the sudden scat interludes... Apart from these details, which make you smile, the band grooves very well and tightly and has such a positive vibe that it's really contagious – feel-good music that you hardly find anymore today. While the title track “Stand!” sticks well, but is a little too intrusive for me in terms of the clichés mentioned, my personal highlight is the bass groove in “Sing a Simple Song.”

Winter In America is one of the few albums on this list that, for some reason, is not available on Spotify. In any case, the collaboration between Gil Scott-Heron and Brian Jackson was clearly inspiring, even if I don't think the “minimalist production” was the best possible approach—in my opinion, the vocals in particular would have benefited from some post-production work in places. In any case, the result sounds almost like a live recording and, stylistically, lies somewhere between jazz and soul in my opinion. As for the songs, “The Bottle” is a very remarkable piece (and the only single from this album), while the rest is mostly easy listening. Not bad!

I read that Red Dirt Girl was a milestone for Emmylou Harris because she wrote almost the entire album herself. That's certainly admirable, but this achievement is perhaps more significant for her than for her listeners. The songs are gentle and light, mostly country-pop ballads, but none of them really grabbed me. I know (and like) the recording on which she and Mark Knopfler play “Red Dirt Girl” and a few other songs live, but that's not part of this review. So for me, this remains an album that could have been so much more, but sounds very mediocre in the context of this list. Nice, but nothing special.

“I Am A Bird Now” by Antony and The Johnsons is a collage of exaggeratedly melodramatic songs that at first glance sound like singer/songwriter pieces from the 1950s. The singer's broad vibrato makes the album, recorded in 2005, seem even more anachronistic. I generally like it when artists play with historical set pieces and mix different styles. However, the result is often a matter of taste, and for me, “I Am A Bird Now” seems rather uninspired and difficult to access in this regard. Perhaps it is too quiet on the one hand and too theatrical on the other. I can well imagine that there is a market and a scene for this kind of music, but it's definitely not my thing.

Man, Roger Daltrey had an amazing voice! From the softest falsetto to the roughest belting—that must have been unique at the time! Due to the synthesizer-heavy and unnecessarily shallow intro, which in my opinion pretty much obscures the band's real qualities, the record takes a while to unfold its true effect. It was only later that I realized that the songs are actually just as catchy as those of other 60s greats I've heard more recently (e.g., The Beatles, The Rolling Stones, The Doors), but in a completely different way. Drums, bass, and guitar are given equal prominence alongside the vocals, making it fitting to describe The Who as the pioneers of hard rock. I find it significant that the strongest song on the album, “Won't Get Fooled Again,” comes at the very end—here, I think I can already hear a blueprint for the classic Van Halen sound in the guitar riffs and vocals—as if this album was planned as an introduction to a new chapter in music history.

First of all, for me, “Modern Sounds...” is THE popular jazz album par excellence, laying the foundation for pretty much everything that came after it. This is due both to the great song selection and the high-quality performance and production, which easily meets today's standards even without most of the technology available today. Furthermore, this album is rightly considered a milestone in all the musical styles that Ray Charles incorporates during the recordings. Together with Ray Charles' power of integration and the associated social significance for the civil rights movement of the 1960s, “Modern Sounds...” is one of the few albums whose importance cannot be overestimated – legendary++ or 12/10.

That was a difficult task! I was somewhat familiar with Charles Mingus and knew that there was “The Black Saint And The Sinner Lady,” but as far as I can remember, I hadn't heard that album yet. It only contains four tracks, which are arranged similarly to a ballet suite, which I find an interesting approach. I also like the instrumentation and production, but what really bothers me are the constantly overloaded arrangements. It's too exciting for easy listening, but also too inconsistent to be able to concentrate on. It was probably fun live (with a dancing squad?), but I really can't see any context in which I would appreciate this record.

It's been a while... Radiohead was always that band that “other people” listened to, while I was interested in something more sophisticated. But honestly, they've always been masters of subtle, surprising chord changes and multi-layered lyrics. I've always preferred a more direct approach, but “The Bends” is a very serious alternative rock album from the 90s and, yes, a must-know for any music fan. Personally, I prefer the more in-your-faace tracks like "PLate Telex" or ""My Iron Lung".

When I see this cover, I have to immediately think of "Weird Al" Yankovic's "Even Worse". While this is certainly funny, it already proves how iconic "Bad" actually is. As Michael Jackson had already been a superstar at that time, it's no surprise that everything about the production is flawless and easily meets also today's standards. And likewise it's no surprise that "Dirty Diana" (with Steve Stevens' incredible guitar work) and "Smooth Criminal" remain the best among the 11 songs on "Bad". Yes, this is one of the most iconic albums of all time!

“Come Away With Me” by Norah Jones is easy listening par excellence—the question is whether that's a good or a bad thing. Personally, I prefer easy listening music that rewards closer listening with subtle surprises that remain hidden to the casual listener. Maybe I'm wrong (because I haven't listened to every second of this record closely), but I don't think Norah Jones delivers these exciting details. On the other hand, she manages not to become boring in the background. So I might even keep this album as background music that doesn't require attention, but it will most likely go unnoticed there. Still not sure what to call this. Calm music without any further properties?

Picture Book is Simply Red's remarkably mature debut album. Opinions about the style may be divided, and the soft pop excursions are not to everyone's taste, but everything sounds really well thought out and produced – well, mature, as mentioned at the beginning. The new wave influence in Red's sophisty pop is (unfortunately) clearly audible, but so are the additional influences from soul, jazz, and blues. Add to that Mick Hucknall's truly great and unique voice. If it weren't for the pop numbers, which are a little too shallow and soft for my taste, I could definitely listen to this album over and over again for quite a while!

“Songs For Swingin' Lovers” was undoubtedly a milestone for both Frank Sinatra and music history, as it was with this album that he began singing and recording standards - for which, to my knowledge, he is still best known today. While his unique voice immediately makes every song his own, I'm not entirely sure that the arrangements and orchestrations, which of course no longer sound contemporary today, live up to this claim. Although I like swing and standards, I feel that this record is at the historical limit of what can still be fairly reviewed today – accordingly, it is also one of the oldest albums on this list. “Songs for Swingin' Lovers” is certainly a very good album, but it doesn't contain any of Sinatra's really big hits, and to me it just sounds too "standard" to give it five stars.

That was really nostalgic! The songs from “Wood Face” are pretty much exactly what I remember hearing when I turned on the radio as a teenager. Of course, I despised all the music on the radio back then, but to be honest, some of it - including Crowded House - wasn't that bad. Even after 30 years, “Weather With You” and “Four Seasons In One Day” stuck in my head, while I liked “Chocolate Cake” and “It's Only Natural” without being able to remember ever hearing them before. Yes, “Wood Face” is a fairly typical pop album of its time, but in my opinion, it sounds so generic precisely because it is one of the best of its kind and thus helped define the typical sound of that era.

Similar to Ray Charles (whose “Modern Sounds...” I recently had the opportunity to listen to and review), CCR had a formative influence on styles as diverse as country, blues, and hard rock, inspiring countless bands far beyond these genres. Ultimately, I can't say whether “Green River” was their strongest album, but it is an extremely tasteful piece of rock history. In my opinion, it makes little sense to highlight individual songs, as I would then have to list at least eight of the eleven tracks included. A must for anyone interested in music and a special recommendation for anyone who has even the slightest interest in blues rock!