Solid Album. No Dylan covers, although "5D" was clearly Zimmerman inspired. Strengths: THOSE HARMONIES, great covers of traditionals, David Crosby's gorgeous voice. Weaknesses: Their "jam" fillers (Captain Soul and The Lear Jet Song), McGuinn's "guitar solos" sound like a toddler fumbling around on the fretboard. Favorite Songs: "Mister Spaceman" (McGuinn) and "What's Happening (Crosby), and the CD extra songs "Why" and "I Know My Rider." Rating: 3/5

I absolutely loved listening to this album! I've never heard of this band before. A lot of sonic texture on this album. It's a pleasing mix of electronic and acoustic instruments with both digital and analog sound effects. Often creating an almost ASMR effect in my earbuds. Each song has an upbeat hook-laden vocal melody with tight harmonies. Always danceable never repetitive. Both retro and futuristic at the same time. A fun discovery. Favorite song: "Life's a Beach." And, I'm definitely adding "Wor" to my favorite apocalyptic songs playlist!

Solid Album. No Dylan covers, although "5D" was clearly Zimmerman inspired. Strengths: THOSE HARMONIES, great covers of traditionals, David Crosby's gorgeous voice. Weaknesses: Their "jam" fillers (Captain Soul and The Lear Jet Song), McGuinn's "guitar solos" sound like a toddler fumbling around on the fretboard. Favorite Songs: "Mister Spaceman" (McGuinn) and "What's Happening (Crosby), and the CD extra songs "Why" and "I Know My Rider." Rating: 3/5

A pleasant listen. A dance album but not boring thump, thump. While each song picks a beat and doesn't deviate, it's never boring thanks to the variety of textures. Synth arrangements never overpower the acoustic instrumentation. Thoughtful overarching lyrical themes and musical seques between several songs make this an enjoyable, although dystopian, concept album. Favorite song(s): Sprawl 1 and Sprawl 2 Rating: 3/5

A perfect album! The I.R.S. years of R.E.M. were classic. Loved this album since High School. Buck's jangly rhythm, Mills' melodic bass, Stipe's indecipherable singing, and Berry's tastefully expressive beats were unique. Mitch Easter's production is immaculate and open. The piano and occassional cello complete the arrangements without ever being too busy. The album is at times mysterious but never morose. Often joyful and danceable. Peter Buck, one of the finest rhythm guitarists in the world, leaves space to fill. Mike Mills, using his bass as a lead instrument, fills it beautifully without ever getting in the way, taking the spotlight, or neglecting his bass duties. That, paired with his high backing harmonies makes him the secret weapon of this classic combo. Very difficult to pick a favorite song. Favorite high points: "Talk about the Passion," and "9-9." Rating: 5/5

Excited to listen. Many artists I like cite them as an influence. Strengths: This is a guitar album. Two skilled guitarists playing distinctly different lines, satisfyingly panned to the left and right. No wasted notes. Energetic. Tons of hooks. Solid, masterful rhythm section. Clever, poetic lyrics. Weaknesses (minimal): the voice and sparse production may put some folks off at first. I think it's perfect. Favorite songs: "See No Evil" (Sounds like Cars meets Jack White) and "Torn Curtain" (beautiful, garage band prog). Terrific album! Rating: 4/5

A classic albeit schizophrenic double album. Features some of the best, smooth FM pop that Mac would create, mixed with a collection of raw "unfinished demo" sounding tracks from Lindsey Buckingham. I prefer the open, relaxed, less slick, production style of this album over their previous two records. These songs breathe more and feel more spontaneous. Lindsey's tracks, while short and rough, are super catchy. I prefer listening to this album over "Rumours." Strength: not overproduced. Weakness: disjointed Favorite songs: "Sara" and "I Know I'm Not Wrong" Rating: 4/5

Seriously? How am I supposed to give Aretha Franklin, at the top of her game, anything other than 5 stars?! Good grief. This launched two of her biggest hits, "Chain of Fools" and "You Make Me Feel Like a Natural Woman." Strengths: Aside from Aretha just killing it, the rhythm section is top notch: members of Memphis Boys and Muscle Shoals Swampers. Weakness: just too darn short (less than 30 minutes). Favorite songs: "(Sweet Sweet Baby) Since You've Been Gone" and "Good to Me As I Am To You." Rating: 5/5

Terry Kath era Chicago is the best. This album is chock full of great music, including some of their biggest hits ever. This is the era before the horns were largely sidelined and the record company decided Chicago needed a lead singer. This music is MUSCULAR. No gentle synth ballads here! This is music to trip out to. And there in is a weakness. While this double album gives you ample time to just kick back, mellow out, and float with the stream, it does have some of filler. BUT FREEFORM GUITAR IS NOT ONE OF THEM. This seven minute guitar solo odyssey is terrific! Terry Kath was a monster guitarist. Other jams, however, aren't exactly the highlight of the album. Chunks of the album sound rather dated with the 60's protest songs. Strengths: Solid musicianship, great VIBE, classic hits. Weaknesses: Some dated protest music. Could have been trimmed to a single album (especially the last three tracks) Favoriite songs: Beginnings, Listen. Rating: 3/5

The Police were opportunists. A great combination of top notch musicians "slumming it" with punk (It's Alright for You, No Time This Time), reggae (Bring on the Night, Bed's Too Big Without You), and new wave (Contact, Deathwish) styles that were popular at the time. It got them noticed and put them on the map. The dead giveaway that these guys were miles beyond those movements is their virtuosity. Andy Summers, a seasoned session guitarist, has scads of inventive licks and lush arrangements on this album. Stewart Copeland's intricate drum work is unmatched. With Sting as primary writer and front man, they were a force. Strengths: iconic songwriting: "Message in a Bottle" and Walking on the Moon." Powerful, energetic performances. A fun listen. Weaknesses: Great album but these are heavyweight musicians playing below their weight class. No need for filler songs (and there are a few).

This album is neither inspirational nor aspirational. It is "respirational," meaning at times it sucks and at other times it blows.

Should be titled "My Bloody Sleep App." This is what happens when white noise, distortion, binaural beats, looping audio software, and a rogue flanger decide to show actual MUSIC who's boss - and fails. I know this is designed as atmospheric music, but I'm unsure of which planet's atmosphere - as evidenced by the breathless vocalists gasping for air like a pool of koi fish silently begging for bread crumbs. Strengths: There are some guitar chords on here. Weaknesses: They sound like they're lost.

This album was a joy. Highly textured creative music. Released in 1972, some of the quirky electronics are obviously dated but several effects would become production staples for years to come. Eno is obviously concerned with creating an atmosphere with each song. Unlike many later ambient, repetitive bands however, he is skilled at writing a solid hook. From there, he uses unconventional sounds to texture and "fill out" the audio profile in a way that serves the song and tells a story. A terrific album to listen to with headphones. Lots of variety that stands up to repeated listening. Favorite Song: Blank Frank

Five stars. No debating one of the greatest debut albums by any band. All killer, (mostly) no filler. Top notch musicians, open jazz style production, great vocal performance. I'm not a fan of the mid '60s hard stereo pan but whatever.

Wow. Powerful performances all the way. Immediately struck by the massive horn arrangements, and fat saxes. Only a larger than life voice like Otis Redding's could match this bold arrangement. And he sure does! Soulful, expressive, and STRONG. Otis at his best. His song, "Respect," lands much differently on this record than Aretha's later version. It's hard to believe she could improve on the song, but she did. It's a testament to the artistry of them both. Aside from Otis' rather weak version of the Stones' "Satisfaction," this is delight from top to bottom. Favorite song: "Down in the Valley." So funky!

I'm not usually into movie soundtracks that much but this was throughly enjoyable from start to finish. Great compositions, arrangements, and loads of funk. I can see why this soundtrack won an Academy Award. Plus, that soulful voice of Isaac Hayes popping up every so often. Great stuff.

The songwriting and arrangements on this album are top notch (great strings). Terrific team of musicians, includining some fine slide guitar from George Harrison. A musically pleasing album However, while John's first solo album was powerful and authentic, this just sounds like complaining. The songs are strong. John's performance is heartfelt. But the self-centered bitterness of this album removes any enjoyment I might receive from listening to it. John's "How Do You Sleep" scorched earth attack on Paul just comes off as unnecessarily cruel. Not all therapy sessions need to be broadcasted. Favorite Song: "Oh My Love" it's the beautiful, shining moment of this album.

This did nothing for me. I know it's on several top album lists, I just don't know why. Yes, the electronics were somewhat advanced for 1977. The closest thing to a song was "Girl" - but that's not saying much.

The album that showed arena rock still lives. Contains three iconic monster hits. The album owes a lot to the styles of AC/DC and Kiss but with a much funkier swagger or swing than those two bands. Excellent production, mix, and stereo stage. Perfect to rock out to. Slash channels Page a few times. A good bit of filler on this record though, and not a lot of lyrical depth. Mostly typical bad boy stuff. Favorite song: Mr. Brownstone.

I really can't stand Bruce Springsteen but I will give credit where credit is due. This album is a standout. The title track is about as perfect a song can be. The highlight for me, however, is "Tenth Avenue Freeze Out." The horns and fat saxes of the Brecker brothers and David Sanborn joining Clarence Clemons just pushes this song over the top. Can't be beat. Lyrics on the album are great but Bruce is just too damn shouty. He gives me a headache. The real star is Roy Bitton! His piano work on this record shimmers. Roy on piano and Clarence on sax can save just about any song. "Backstreets" and "She's the One" for example, would work just fine as instrumentals. Great band. The epic 9+ minute Jungleland is one of the best closers of any album.

I absolutely loved listening to this album! I've never heard of this band before. A lot of sonic texture on this album. It's a pleasing mix of electronic and acoustic instruments with both digital and analog sound effects. Often creating an almost ASMR effect in my earbuds. Each song has an upbeat hook-laden vocal melody with tight harmonies. Always danceable never repetitive. Both retro and futuristic at the same time. A fun discovery. Favorite song: "Life's a Beach." And, I'm definitely adding "Wor" to my favorite apocalyptic songs playlist!

A ridiculous amount of raw energy. A powerful performance. Recorded live in 1963 but, inexplicably, not released until 1985? This set just sounds like pure fun. Sam plows through the hits with an in-your-face presence that commands respect. Excellent recording quality and a solid performance by a terrific band. I've never heard him like this before. I can see why he was such a huge sensation in his time.

"Fast and Bulbous!" Ha ha. This thing is nutty. It took me about 20 minutes to figure out what was going on. It's not music as far as I can tell. That's not to say it's not entertaining. It felt more like a poetry slam. I have no idea why they decided on making it a double record. 45 minutes would have more than sufficed. Obviously, a lot of work went into this. But, I'm not gonna be pretentious and pretend I think this is a masterpiece or that it's an "important album" just because it shows up on lists like this. It may be those things but my mind isn't currently calibrated for this. Today, it's getting one star from me but not because it didn't have entertaining moments. I'd have actually given it two stars had it been a single disk, not a double.

Yes! Some power pop fun. This is a band I skipped when they were around. I actually didn't know I had heard them until "Alright" came up. That song was everywhere back in the day. Lots of hooks and raw energy. The first half of the album holds most of the "pop" numbers. "Caught by the Fuzz" and "Mansize Rooster" are the most notable for me. Back half of the album is more musically interesting. Great stuff. My favorites: "Lose It" and "Sitting Up Straight."

Ah. Classic Prog: The world in which I generally live. This is such a familiar and loved album to me that it's difficult to give an unbiased review. My biggest dislike is the subject matter. This whole album is an ode to lechery and animosity towards Christianity. "Hymn 43," for example, could have been written by the unrepentant thief on the cross. A complete rejection of Christ. On the other hand, this is a musical masterpiece. It's funky enough to have generated several classic rock staples yet proggy enough to keep the interest of the musically inclined. Favorite song: "Cross Eyed Mary" - from tasteful, mysterious flute/mellotron opening to the down and dirty Hammond Organ riff that would make Deep Purple Proud. Funkiest cut on the album. I love it. Musically this album is five stars. But, for me, I have to dock it one star just for its unrelenting blasphemy.

A concept album about nuclear weapons. Begins with India's nuclear testing and ends with Robert Oppenheimer. Tracks rotate through several genres: orchestral, jazz, electronic dance, rap, MOR soft rock, scat. Arrangements featuring both western and Indian instruments and styles. Overall, I found it to be an enjoyable listen. I could hear this being played in a coffeehouse or spa. Favorites: "Homelands" and "Tides"