1001 Albums Summary

- Light, superficial love songs; not much variation. - Includes "I've got you under my skin" (the other songs are consistent with each other, but can't compare). - Can't see myself listening to this very often... I definitely prefer a best of album to this one. I get tired of it really quickly - there are 15 songs, for me, it would be more enjoyable as, like, 5 or 6.

- I'd never heard this album, but it feels nostalgic, and I'm happy to be introduced to it. - Solid melodies and lyrics. - Definitely feels more live than produced - I'd prefer more studio than live. - Dislike Welfare Mothers and Sedan Delivery.

- Happy to have been introduced to the album, as I definitely wouldn’t have found it on my own. - I don’t love the first handful of songs, and there’s generally too much filler (e.g., Start, End, Fertilizer, White, Not just money...), but it picks up at Super Rich Kids (minus Crack Rock and Monks). - The endings of a lot of the songs were really abrupt. - Wish his voice was richer and more complex - most people seem to like it, but it doesn’t do it for me.

- Melodic and interesting instrumentals. - Only a couple songs that I’d probably skip (Emergency Exit & Farewell Ride)

- Thought Eddie Vedder was supposed to be political, but he doesn’t speak up against the genocide, so I can’t support the band anymore. - I did enjoy this album growing up, and it's still good... lots of great songs here, and it reminds me of my sister, so that’s a shame. I guess one thing that bothers me about the music (rather than the disappointment in Eddie as a person) is that he's pretty pitchy.

- Amazing guitar work, obviously, but I find it a little overbearing at times, as it kind of makes me feel anxious. - Melodic and memorable songs/a lot of great hits on here.

- Don’t really remember much of it. The melodies didn’t really hit for me. Actively disliked a number of the songs, too. It also felt kind of all over the place. I’m sure I’ll never listen to it again. - For me, the lead singer’s voice is a little too thin to work with the more complex instrumentation (which is what I liked best about the music). - I want the album either to be more clean or more feral. That all said, I just can’t get into jazz, so take my review for what it is. 1.5, I guess

- Happy to finally get an album by women - there needs to be many more on this list. - I didn’t have this album when I was growing up, but I knew Creep and Waterfalls. Really happy to hear the whole thing. The music is sexy, like everyone is saying; it is smooth and has nice melodies and harmonies. Lives up to it’s name.

- Really nice, easy-going melodic tunes that are about more complicated emotions and human experiences, which is definitely my jam. - I’d only ever heard Me and Julio from this album, somehow, but I think I’ll listen to it a lot more, though, I will probably skip a couple tracks.

- Definitely ahead of its time, and I can see the influence on breaks/electro. - I only knew Pacific 202, and it’s such a banger, but I really love Donkey Doctor! The vocals on Magical Dream are pretty great - very pre-St Etienne. Ancodia doesn’t do it for me and I find Cobra Bora a bit chaotic, but the rest, I’m into. - I think my cat likes it, too.

- The Cutter is great - nice melody & gothy vibes… Enjoying Clay, Heads will Roll, Higher Hell, Gods will be Gods, and In Bluer Skies a lot, too. - I’m getting a bit of a U2 feel from this guy’s voice in parts of the second song. So, I guess it’s like moody britpop with a lot of the Cure, the Church, and a taste of U2. I used to love U2 until I realized Bono was a prick, so I’m conflicted about that song, lol. His voice is making me think of someone else, too, but I can’t place it - I wonder if it’s just them because I had never actually listened to a full album, just heard their singles. He’s got a great voice. - love the momentum of the drums, and there is some nice bass in there and cool instrumentation throughout, but the guitar can feel thinner and more twangy than I like in places, but other places it’s nice. - I’ll definitely listen to it again.

- I won't support Zionists. - Lucikly, I also find the music pretty boring - it just doesn’t move me, except for small parts like the sudden melody in Snowblind, and Laguna Sunrize is a pretty break from the aggro vibe throughout. I honestly don’t remember any of the album after listening to it (other than Changes, I guess, which is pretty enough, but the artless lyrics take me out of the vibe). I wouldn’t reach for this album again, even if it wasn’t off the table because of Ozzy. - The solo guitar work is pretty great, though.

- I definitely feel like this album deserves to be featured in a History of Contemp. Music course, but I don’t love listening to it as much as I appreciate it. It’s so much the prototype for what’s to come that it doesn’t really feel fresh now that there is so much music to choose from. - That doesn’t take away from the fact that the music is pleasant and well-played and sung. I also won’t deny that Blueberry Hill is still a banger, and Blue Monday & Troubles of My Own are great. Probably would have loved this album when it came out! - Unfortunately, the production isn’t great, it feels pretty fuzzy, so it can be hard to hear all of the detail.

- Some great songs on here! The musicianship and songwriting are definitely there, imo. - I could use a bit less distortion and understand how people don’t love Billy Corgan’s voice, but it doesn’t really bother me (I don’t, like, love it, but I think it goes with the music). - The first half of the album is a lot better than the second half (except Quiet, which I find boring); after Disarm, I only really like Mayonaise and Sweet Sweet. Soma’s nice, but goes on too long. I’d rate the album higher if it was a lot shorter. - Corgan kind of seems like an ass, though.

- Agree with people that this is really all over the place. It’s definitely a mixed bag. - That said, I liked the majority of the songs, primarily on the first half of the album, and of course that includes Solsbury Hill. - I thought the experimentation was interesting and, for the most part, added to the interest of the songs there. For example, I thought it worked in the first song because the simple verses had that interesting effect in the background before it went all orchestral and hair band, so you expected it to veer into being experimental. And, I liked the kind of organ feel on the Humdrum, but I didn’t like when it went into the wind section. So, sometimes the experimentation worked, and sometimes it distracted. - Despite liking the majority of the songs, I hated some other ones: Excuse Me (so hokey), Waiting for the Big One and Down the Dolce Vita (and of course those two had to go on forever), I’m looking at you. They were just so extra… holy musical masturbation.

- Some great songs on here - a handful of bangers, for sure. - Yeah, there’s a lot of blending of songs, but each one is distinct from each other, especially after a few listens. I think it doesn’t really help that the production feels kind of muddy. And there isn’t a lot of range in the vocals, fuzzy power chords, and drum beat. - The energy is fun, it starts at 100 and stays there almost the whole time. I think it would be a really amazing live show, it’s good to work out to, and I can't deny their influence, so rounding up from a 3.5.

- I liked it quite a bit and more each time I play it. I only knew This is the Day and Uncertain Smile, which are great. Now, I also love the title track and Perfect. - Giant starts out really great, but hard no on the long drum solo & chanting in the outro - the funky bassline helps when it kicks in because I was getting angry. That said, it would be way better half as long. - The other songs are less melodic and meander more, but I think they’re still interesting. I’m not really into very experimental music (or jazz), but I like this album and definitely the piano and other instrumentation.

- A lot of hits on here, as you know. - Stevie’s voice is amazing. I wish she was lead on pretty much all the songs, as I don’t like anyone else’s voice on the album. I get why she wasn’t on Go Your Own Way, though. - Instrumentally, only the guitar and Stevie are notable. - Not a 5 for me because I don’t find it consistently good. For me, there’s filler: Never Going Back Again (though, it has its moments); Songbird; I Don’t Want to Know (I like the clapping, lol); oh, and I *hate* Oh Daddy. I don’t love Chain as much as everyone else does; I love the chorus and outro, but I find the verses with their minimal guitar plucking and, to me, irritating vocals pretty annoying.

- I like their singles, but I never really got into their full albums. This album is helping me see why. Obv, Clint Eastwood is a banger, and Tomorrow Comes Today is also good. - Overall, I find the album to be plodding, and it feels experimental just for the sake of it. There are interesting parts/grooves in each of the songs, but not enough to make sitting through the whole song pleasurable - you have to deal with the rest of the song trying so hard to be atypical. I’d just rather listen to other trip hop. - I also don’t think that Damon’s voice fits on a lot of the songs (though, I like it in Blur). It can get so grating, whiny, and babyish - especially on New Genious (Brother), Man Research - which makes the song unlistenable for me, the beginning/end of Sound Check (Gravity; but I like it on the middle part of the song), and Starshine... I can't understand the lyrics, for the most part, so that's not even something I can hold on to, and what I do understand is... not remarkable, though I know they're supposed to be talking about world issues. Would be nice to be able to hear it. - Also, I couldn't care any less about the fake situations this fake band are going through.

- I don’t separate the artist from the art. I used to really like the Smiths and Morrissey when I didn’t know what Morrissey was like, but I can't support them any longer. - I liked the Smiths more than Morrissey's solo stuff, but they both have tons of bangers, I won’t lie. - I also admit that this is a good album. I never really was into the Smiths or Morrissey albums because I find there is always a lot of filler. When I listened to them, I would reach for the greatest hits over any specific album. That said, this one is probably the best one I've heard cover to cover. - On the other hand, even if I wasn't boycotting Morrissey, this wouldn't be a 5 for me because I don't love The Queen is Dead, Frankly, Mr. Shankly (except for the instrumental middle part), Never had No One Ever, Vicar in a Tutu, or Some Girls Are Bigger Than Others. So, that's quite a lot of skips on a pretty short album.

- I don’t support Zionists. - Holy shit, I really hated this. I love britpop, but this felt like the lowest common denominator. - And the lyrics… I can’t. And his voice is like nails on a chalkboard to me. And, and, and... I can’t say enough negative things about this album, so I’ll stop here. Painful.

- Enjoying the funk of the beats and sampling, the production is clean, too, except for everything being way too long. - The lyrics are pretty bad in a lot of spots (like the entire Underwater Rimes). I know it was the 90s, so it’s definitely dated in that respect. - I started getting pretty tired of the album at the second half of doowutchyalike. Then, it got sexist and explicit. Call me a prude, but I don’t want to hear explicit sex stories from random dudes. - The first half of the album, I liked enough, the second half, I strongly disliked. That whole sex packet thing went on waaaay too long. Was going to rate it a 3, but knocked it down after the second half.

- Yeah, I hate it. So plodding - it feels so long, like it will never end. Tortured seems to be the theme of this album for me, and I just don’t want to listen to that. - This guy’s voice really irritates me - flat, whiny, honking, back of throat, lack of range, and, wait for it, tortured. It’s like trying to be Metallica, Pearl Jam, Nirvana, etc without the tone. I just can’t deal with music when I hate the singer, sorry. - I couldn’t understand most of the lyrics, and what I could were pretty embarrassing and one-note. If anyone tries to argue that women are more emotional than men, make them listen to this album. - I’m not into hard rock guitar riffs without memorable melody to go with it. That said, I admit the guitarist is talented. - Good drumming. - To me, this is all supporting instrumental without the top that it’s supposed to be accompanying. Being in this band would be my worst nightmare.

- I am surprised how many songs I knew on this thinking I didn’t know anything about this band. - I really like it - the melodies are nice, and there is some interesting instrumental stuff (tuba, strings, more experimental sounds, water) going on with simple guitar/drums (but the occasional guitar solo, too). - Songs are short and sweet. - It feels like hanging out on the grass on a warm spring day wistfully staring at the sky. There’s definitely a melancholy to it (kind of gets into Elliott Smith territory, but with happier instrumental). - Singer’s voice is kind of pitchy - he can’t really hold notes without going out of tune, but his tone is pretty inoffensive, so it’s not so jarring that it ruins the experience for me (but, ngl, it’s pretty bad on Pissing in the Wind, which is a good tune and very Wilco-vibes). - Could do without Body Rap and all the doo be doo stuff on Once Around the Block.

- Had only ever heard some of their singles (e.g., A Design For Life, Enola Alone) but not a full album. It was okay, not super memorable, but it does get better the more you listen to it. - Wasn’t prepared for such a bad start - the singer's voice is intolerable on the first track. If you can’t hit the high notes, please don’t. Also, the song is unmemorable other than the bad singing - why start an album with that? Also dislike Kevin Carter because of the verse - but, the “Stealth Sonic Orchestra Remix" at the end of the album I listened to was good because there were no vocals! I also liked the other Stealth Sonic Orchestra Remix of Motorcycle Emptiness. - Was hoping for more but wish the lead singer’s voice was less out of tune and had more range. His vocals on the last song on the version I listened to, the acoustic version of Everything Must Go, made me want to die. - I enjoy sad lyrics over compelling memories, so I was wishing I could understand what he was saying more, but, then I heard "Harvest your ovaries dead mothers crawl” on Small Black Flowers that Grow in the Sky. I read the rest of the lyrics to the song, and now I’m glad that I don’t understand. I’m not a poetry connoisseur, but this is all very cryptic, unenjoyable, and basically feels like pretentious bad poetry. And so wordy, so it feels like he’s often forcing the words into the melodies. - Some nice instrumentals - synths, strings, and horns (but they couldn’t save Kevin Carter, lol). Definitely the highlight of the album for me.

- I sort of like a handful of the songs on here, but I don’t really get the hype. It feels busy and repetitive and the vocals often too thin with no texture and variation, and I don’t love hearing a group of people singing the same thing with no harmony. - I’m not into the timbre of the main singer’s voice in most of the songs at the beginning of the album. It’s just kind of thin, not super warm, especially in the higher registers, and doesn’t vary much at all. It feels more like speaking than singing, but without an interesting speaking voice to carry it. - My highlights are Chan Chan, Murmulla, the title track (but wish it was half as long), Dos Gardenios, and Y Tu Que Has Hecho and Amor de Loca Juventud, which were more chill and smooth, and this guy’s voice is sooo much more enjoyable to me - a deeper, warmer, smoother sound. - The musicians are good instrumentalists. - I read that this was done in a few days, and it feels like it to me - ideas that are formulaic and not fully explored or particularly memorable. So, it’s like an improv album… which I guess is quintessential live jazz. But, jazz just doesn’t do it for me - it just feels like an intellectual exercise that doesn’t take me anywhere emotionally, and I don’t want that from music I’m listening to.

- I guess it sounds like it could be fun for the people soloing, who are clearly talented musicians, but this music leaves me cold, and I don’t want to be on the journey with them.

- I'm not sure how to rate this. - People are saying it's really empowering, and I guess in terms of being honest about what is happening, but I just hear another record of women centring men. It's relatable in terms of going through a period where you start to understand the realities of living under patriarchy, but I'd prefer to listen to a women-centred album where she speaks about something other than relationships/sex with men. I'd also like to hear more about what she's learned from the experience -- she dumped a few losers, but that seems to be about it. - It was pleasant enough to listen to - she has a nice singing voice. Would like more memorable melodies and instrumentals, but I didn't dislike anything!

- Ugh, sex trafficking & child molestation. So many creeps on this list. - I like breakbeats, and this has been sampled a ton. On the other hand, it’s really dated, and the songs go on too long and aren’t super memorable.

- I was really looking forward to this because I love the Dire Straits greatest hits album I have, but I wasn’t really moved by the songs on here (no wonder they’re not on that album, lol). - Knopfler has a memorable voice, and he is amazing on the guitar - it sings - harmonizing and supporting his voice, but with a life of its own. I don’t love guitar solos usually, but I like how this is conversational and melodic. I love how the album starts with that nice guitar intro and beautiful tone. - I wanted to rate this high, but I just don’t remember the songs other than the hit & Wild West End. Also, lyrically, I can’t tell you what anything was about.

- Been listening to the album all day, so safe to say that I really like it. - Clearly a group of talented musicians, and unlike some of the other reviews, I like the tone of the singer’s voice. It could go pitchy in the higher registers, but not so often that it was annoying. And, now I see who the lead singer of Girls copied his vocal affectations from (see Orange Skies). - Many of the songs can feel a bit cluttered at times, but I liked all of the different sounds that they’d throw in, and the baroque touches are nice. - I like how the musical forays always go back to the main (pretty and memorable) melodies pretty quickly. - I’m on team the last song goes on forever and would have been better shorter, though it’s got a lot of good stuff in there.

- Defied the BDS movement (in 2010) and hasn’t spoken about the genocide since, so likely a Zio. I don’t fuck with Zios. - Too bad because the music is fun, and I love seeing women on this list.

- Oh yay, another pedo. - The album is so bland. Some okay guitar, but even that’s mostly boring. - The title track is the only thing worth listening to, but you already know it.

- It’s got great grooves, and the singer has a great voice. - Obviously has Massive Attack vibes, but its darker. - I knew Black Steel & Hell is Round the Corner - both are bangers. - The songs on the second half of the album all go on too long, even the short Brand New You're Retro feels long. I like Aftermath, but it's at least a few minutes too long. - Dislike the (never ending) song Strugglin'.

- Excited to see a recommended Kraftwerk album because I’d never gotten into them despite liking melodic electronic music. All that to say, I am not a robot. - Appreciate that they paved the way for the genre. - While there are interesting melodic ideas, almost all the songs are too long and the extra length doesn’t really evolve/add new ideas. A lot of it feels like dudes playing with their synths, but I admit, it grew on me. - The Model is a banger. Neon Lights is also good, just wish it was half as long. Also liking Metropolis - the call back to “the Robots" is a nice touch, but that song was so long, I enjoyed it more here. I like that the album is thematic and definitely a reference to the movie. - Enjoy the German version more than the English one.

- Strongly appreciate his activism. - I’m not into jazz, but this album's pretty inoffensive and palatable as far as jazz goes because there is a fairly strong melodic core to the songs, but I don’t think I’ll ever reach for it. - I’m not into the tone of the trumpet/flugelhorn… it isn’t as smooth as I like - it can feel muddy (not precise enough) and rough/scratchy. I also find that it’s so much more forward than anything else, so it ruins the songs for me. - The piano tone is nice, though. - Why does every song have to be so long? - Nomali is pretty.

- When I saw this today, I was like “oh, great! I had a copy of this album in university and probably loved it… but, why haven’t I listened to it in years?” Well, I only really recognize a few of the songs, so looks like I skipped most of the songs back then, too. - To me, the tone of Wayne Coyne’s voice is too thin, nasal, reedy, and whiney. - I only really like Yoshimi pt 1 and Do you Realize - I guess there’s a reason those were the hits. Flight test is nice, too, but it’s pretty much Cat Steven’s Father & Son part II, and the Magicians is nice when there’s no vocals. I find the rest is just meandering and trying too hard to be experimental or atmospheric, and it ends up feeling annoying or bland. - This band is pretty fun in concert - I think maybe the music is better live combined with all the theatrics, but the concert I saw was also a bit chaotic and trying to throw everything at the wall without a real direction.

- I know this album pretty well. I’ve always slightly preferred Great Escape and Parklife for whatever reason, but I love this album, too. Tons of great songs (On My Own is my fave one) and only a few skips (e.g., Country Sad Ballad Man, Theme from Retro, Chinese Bombs, Essex Dogs). - I like Damon’s affected voice (minus the falsetto), and I think the music on this album is interesting and tight, but also easygoing… good bass, guitar, and effects to enjoy. - Blur (and contemporaries) were pretty formative for me and my musical tastes, and I’m very much enjoying revisiting this. And sorry, I liked both Blur and Oasis, lol.

I don’t fuck with Zionists. It also wasn’t my jam.

- I’ve listened to this album uncountable times throughout the years. - Yeah, the Gallaghers kind of suck, but more in a “they’re wankers” way than the moral imperative ways that make me not listen to an artist (at least as far as I know, feel free to correct me if I’m wrong!). That said, if they had just formed in 2025, I probably would not have listened to them because of the way they act (and Liam’s recent racist post), but it was the 90s when I was introduced to them. - The album still holds up. I like Liam’s voice (Noel’s is fine, but can’t compete), Noel’s songwriting and chord choices (I don’t skip any songs on here, which is the rarest of the rare), the musicianship is solid, and the melodies are great. The lyrics can be dumb at times, but they’re infinitely singable, so they get a pass.

- Love the richness of his voice in the lower registers, and when he hits the high notes, there’s great emotion, and I love the raspy effect. The mid registers aren’t as interesting, but they’re nice enough. - The melodies are sweet. - The guitar and keys provide nice counterpoint to the songs, and the horns are simple and easygoing in support of the melodies. I could use a bit more instrumental on the songs without guitar. - My gripes are: 1) I wish the subject matter was more varied - we get it… you love her and/or she’s just not that into you. Is this a 60s albums thing - being *all* about love? It’s pretty boring. The old traditional albums that I’ve listened to so far on this list (Sinatra, Fats Domino, this) have been one-dimensional like this. It can also feel patriarchal. 2) When the backing vocals are thin/shouty and lacking complexity, it can feel unbalanced with his rich vocals. 3) The second half of the album wasn’t as engaging as the first half.

- I really like this. Interesting instrumentals/effects. - The vocals are sparse, but I like them when they’re there - especially the Lydon feature. The woman gives Massive Attack vibes — not as good, but a pleasant tone. - Upbeat, engaging beats that I’d like to dance to. Progressive with good forward momentum - the only song that felt kind of stagnant to me was Melt. - I like the blending of different music styles used in here (tribal/world/Afro, dub, house, trance, breaks, ambient, etc…). - Really clean production. - I get a Twin Peaks meets rave vibe on a couple tracks (Song of Life, Storm 3000, & 21st Century Poem). - I’d never heard any of these tracks - I think I’ve only heard a song or two by Leftfield, but I bought the album after listening to this.

- Yeah, this is not for me. It feels really dated, and the synths are so forward, thin, and tinny. - The singer's voice doesn’t do it for me, either - it’s almost good, but it just feels a little too closed off/roof of the mouth/back of the throat, and I’m not into all the talking. - Some nice lead guitar work, and the bass sound has a nice, rich tone. - Welcome to the Pleasuredome is a chore (and soooo long) - I can’t with vocals like “hoo ha”. It’s too experimental to really pull me in, especially with the dated sounds. If I accidentally walked into that Pleasuredome, I would turn and walk right out, feeling violated. This whole album feels like walking in on someone masturbating. - There are moments that are nice (e.g., there are some interesting instrumental parts in Two Tribes, which was a super long version on the album I listened to), but they’re so short and then go back to the unrelenting drumming and annoying vocals. The shorter version is a lot better, and the video is great. - Relax is still a banger.

- I like Heart of Gold and Old Man, and I hate that Maid song. - This felt like a long album for a short one. Nothing really captured me - it just felt like the songs didn’t really go anywhere. - Some melodies are nice enough, but not super memorable. And the music wasn’t interesting enough to make up for his voice. - I really dislike the cadence of the words with the music on There’s a World… it felt like reading a list. - Seems like he used the orchestra on the worst songs to try to fool us into thinking they weren’t awful. Sorry, Neil, it didn’t work. - I tried - I listened three times, but yeah, I won’t choose to listen to it again. Maybe if I want to wallow in self pity? - Also, people on this site rag on electronic music for being 4 on the floor and then laud this… sloooooow 4/4 and tons of songs that are one or maybe 2 (if we’re lucky) musical ideas. Make it make sense… lol

- I’m just not into jazz because generally, it doesn’t move me, so I guess this album is pretty inoffensive as far as jazz goes. - The songs all start out okay, but then go on forever. - I think I liked the first song a lot more than the others - maybe because it had less sax and a more pronounced & memorable melody than the others. - The tone of the instruments feels muffled, which I don’t love, and I would have preferred a standard piano to the organ. - I’ll never choose to listen to this again.

- Although it’s not my favourite Bjork album - I had it for decades and never reached for it - I listened to it three times today, and it’s definitely growing on me. I can say that I like elements of every song on the album. - I still prefer Debut, Post, and Homogenic (and that remix of Virus from Biophilia!) because the later stuff is a bit more cinematic, ambient, and atmospheric than I gravitate towards.

- I knew a lot of the songs on here, but I never got into Foo Fighters. The album kind of grew on me, though it still feels Nirvana-lite. I sometimes get an Elliott Smith meets Nirvana vibe. - I wish the songs were either heavier or poppier - this tries to blend the two, but it ends up feeling kinda washed out. - Dave Grohl's guitar work is good, but his voice is a little thin. - The production feels muddy.

- Quicksilver Messenger Service, huh? Imagine trying to send a message through them… we’ll get your letter to its destination, smelling like patchouli, sage, weed, and B.O., in approximately 1,000 business days, after taking every scenic route and stopping for a few peyote breaks. You’re never getting that message, and if you do, you’ll wish you hadn’t. It’s not their fault! They thought the stamp was just another tab of acid. - Oh no… now they’re grunting and tribal clapping. - I can’t imagine being at this show, even off my face… standing there wishing the song(s; it feels like one long song) would please just end - thinking about how my feet hurt. - The lead guitarist is good and has nice tone, but it's still not interesting enough for me to ever reach for this album. - The first half was much better than the second half except Where you Love, which was painful, and I was getting really tired of it all by Who do you Love (Pt. 2). The second half, except some of Mona and Maiden of the Cancer, was a chore. - The vocals are good enough when they’re there, but there isn’t enough of them.

- I thought I had listened to this album a lot when I was in high school, but I only recognized Aqualung, Locomotive Breath, and Wond’ring Aloud off here. A Québécoise friend I met at “Encounters with Canada”, Mylène, loved them, so maybe she sent me a mixed tape or something. We lost track of each other, but if you’re reading this Mylène, shout out! - Enjoying a lot of the other songs on here (especially the more folky ones). I personally love the flute. Why not? And I’ve always liked the jangly guitar work and the lead singer’s voice when he’s singing on the folkier songs, not so much when he’s swallowing his voice/getting nasal on the rockier ones. The drumming is notable as well, prominent/restrained when it needs to be. - Interesting lyrics and themes. - Not a 5 because I don’t like a couple of the songs (e.g., Cross-Eyed Mary & Up to Me).

- Sigh… just found out he was another pedo. I thought I liked his personality and hits more than his body of work, but now I guess all I like is the hits. I typically find his albums a lot to sit and listen to - more proggy or jazzy than I like. This one seems more easygoing than most... it can feel very Roxy Music in parts. - Some nice instrumental support on the songs - guitar and keys, especially. - The thing that I like least about this album is that many of the songs are too long without evolving enough. I like the hit, Golden Years, but the repeated wah-wah-wah effect becomes a lot, especially at the end. (that said, that was some great whistle tone!) - Station to Station is okay, but also too long. I like how the beginning kind of hints at Golden Years (though it goes on so long at the start). When the lyrics kick in, and the poppy second half takes hold, I start to enjoy it more, but then it goes on too long again, without evolving at all. I’m not really sure the first and second half of the song really go together. - I love the W x x W songs. - I hate TVC15 - other than the piano, it feels like a joke to me. I also could do without Stay, and two songs is a pretty big portion of a short album.

- More pedos, and haven’t heard anything recent about their stance on the genocide, but they played Israel in 2014. Sounds like they’re probably Zionists, and I don’t fuck with Zionists. - Might have given this a 2 if it wasn't for the clearly misogynistic & narcissistic vibe throughout. - High and Dry (which is easily one of the worst songs on the album) is very “the breakup came out of nowhere!” after years of being abusive. - Paint it Black and Under my Thumb are still catchy, but the lyrics of Under my Thumb are gross af. - The other songs (minus I am Waiting) are extremely forgettable. And, I agree with everyone about how annoying it is that the last song (on the US version) went on forever. - Listened to the UK version after, and I had always thought Mother’s Helper was a reflection on the negative effects of the patriarchy, but now that I’ve heard it in context with this album, it’s clearly just another example of them hating on women. Now, it’s relegated to the trash bin with Under my Thumb (which I guess I never really listened to closely before). - Similar vibe for Out of Time - nice enough tune with misogynistic lyrics. - This album is such a hard no.

- I really love the two hits (1999 & Little Red Corvette, a 10/10 song!) and really enjoy most of the other songs, e.g., Delirious, Automatic, Free & Lady Cab Driver, etc. - The album is definitely sexy and fun - it would fit best on a dance floor or at a party with its funky groove, or to dance while cooking. - It is kind of a lot if you’re not really in that mood. Some tracks can be a overbearing in a jazz sax porno kind of way (e.g., D.M.S.R., Something in the Water...) and definitely go on too long, even the songs that I like. - The production is a lot and could have benefited by more editing. - I love his guitar work and tone, so I wish there had been more of that, though I get that this is supposed to be more of a dancey album, and even thought it’s dated, I generally like the synths.

- I've listened to this album a million times. Had the CD with the interchangeable sleeves with all the different pictures that you could take out. - Love Jarvis's voice and storytelling - he really knows how to set a mood. And, the instrumentals support it really nicely. - Interesting themes/working class anthems. - I like some songs better than others, but I wouldn’t skip anything.

- I really liked this - I’m not sure I had heard the full album before. - The music is sweet and easy going - very melodic and touching. - Though, it's not a 5 because I really don't love tracks 4 (the high-register singing, waaah-oohing, and the screechy horns... ugh), 5 (melodically and lyrically uninteresting), and 7 & 9 (hokey), but the rest of the songs are great. - The voices complement each other, and I'm really enjoying the instrumentals (keys, xylophone, flute, bass and guitar, too).

- She has a beautiful, smooth, clean vocal tone. - The album, though, was disappointing. The songs don’t pull me in at all. It mostly feels very EZ listening & sleepy. No real hooks or anything particularly memorable. There’s not a lot of energy. - Constant Craving is the noteworthy outlier. - I like the second half of the album more than the first half - it gets a little more interesting around So It Shall Be - the orchestration/instrumentation picks up with some strings, winds, and synths. That said, I can’t ever imagine reaching for the album, and I don’t remember any of the songs.

- It’s so bland - the lyrics and melodies aren’t interesting enough to remember. Do they even care? Holy repeating the same lyrical line over and over without interesting-enough instrumentation to make up for it. - Can’t Get Enough is the only song I knew, and I guess for good reason. Now that I think of it, I hadn’t heard the title song - Bad Company on an album called Bad Company by the band Bad Company. That’s not a good sign. - Another album where I wish it was either harder or poppier - this is so very middle of the road. Very Eagles. At least it’s hard to actively hate? I’m still giving it a 1, though because it was just so boring. I expected more for a “supergroup”, and it absolutely doesn’t belong on this list.

- I don’t like his thin, strained, high voice or jazz/jazz-fusion, so this is a struggle. - It also mostly feels like a joke. - The songs are almost all really short, and so nothing really has time to take hold and they tend to end abruptly. Yeah, I guess it gives you the feeling of being too drunk. - It’s not for me, but to say something nice, the bass playing is good and there are some nice grooves throughout - the treble and meandering kills it for me, though.

- I don’t fuck with Zionists. - The vocals feel weirdly centred but back, and I don’t find Paul’s singing voice or the harmonies very interesting on this album. It all feels so “old-timey”, like the aggravating repeated Ho hey ho on Mrs. Vandebilt… - The bass was the best part, by far (they definitely felt more forward than the vocals in the mix). Also, some good guitar riffs, but I don’t love the guitar tone. - I only like the first song on the album. The rest of the album just has too much cheesy filler. Every song has something irritating about it, e.g., Mamunia oooooo. - This album just feels thin and trite, especially the vocals. There isn’t enough power to it — it’s too sweet. And I like sweet, e.g., Belle and Sebastian, but I want some spice or tongue in cheek with it. - Let me Roll it is getting on my nerves - yeah, we get that you like that guitar lick… all the tracks feel overbearingly repetitive like this (lyrics and instrumentals).

- I don't fuck with celebs who won't boycott Israel. - As you know, she’s got a great voice (except the high notes on No Angel… I hate hearing people try to sing outside their range). - Felt like this had a lot of filler, but there are a few bangers. XO was great. I also liked Heaven and Blue. I expected more bangers for a super produced pop album. It just felt very background music, and there were tracks I definitely disliked, like, 7/11 and Flawless (except for the speech). I mostly didn’t feel anything when I listened to this, and it didn’t make me want to dance, so I can’t see myself ever reaching for it. - I keep seeing people say that this is empowering, but I don’t feel that - it seems mostly centred on men and the male gaze.

- This album is definitely a vibe, atmospheric and dark, for the most part. - It definitely turns very Nick Cave around the middle, and I prefer the other tracks that are more pop-tinged and feel more uniquely Echo and the Bunnymen. - Killing Moon is the biggest banger on here, and yeah, his voice is very Bono here. Seven Seas is also really great. - The lyrics feel a bit forced.

- Ew, another pedo. - The singles are great - California Dreaming, Monday Monday… Go Where You Wanna Go is good, too. The other songs didn’t really do much for me - a lot of covers that weren’t as good as the originals. - Some nice harmonies, and some fun instrumentation.

- I found this album to be too honkey tonk, twee (e.g., I Can’t Get Her Off My Mind, Forget That Girl), annoying (e.g., Zilch, Band 6), and dated. - I really disliked the second half of the album, except the last song. The album was pretty short (listened to the version with 14 songs), but I still wanted it to be about half as long. I listened to it a few times, and the only thing I remember is Bob Dobalina, and that’s because it’s been sampled. - Unpopular opinion, but I like their super produced manufactured pop stuff better. This felt like they were trying to copy the better bands that were around, but it fell flat - this album lacks the depth and musicality of its contemporaries. The vocals and lyrics are pretty pitchy and weak, too (e.g., For Pete’s Sake, Forget That Girl). - I think I liked the bass the most out of everything, and some pretty enough keyboard on Shades of Gray.

- Definitely a band full of proficient musicians/instrumentalists. - I didn’t find much melodically interesting enough to hold onto. I guess it’s good if you’re into guitar shredding, but while impressive, it’s not something that I want to listen to. - The lead singer’s voice can get thin and whiny, but I like it when he sings in the deeper registers. - The intro to Peace Sells is cool - nice bass riff. That kind of riff is the kind I’m into - funkier and a little melodic. - It’s not easy to hear the lyrics, but I could on Peace Sells, and I like the social commentary. Peace Sells is definitely my favourite song on the album.

- Gross, a bloodthirsty Zio. - Music for aggro middle-class white boy “Alphas” and incels to posture to their guy “friends”, because everyone knows that they don’t actually like women. - His terrible rapping ruins any potential that the songs had - there were some melodies that could have been enjoyable (e.g., the hits: Cowboy, Bawitdaba), but his weak voice and awful lyrics are so irritating. - I was going to say that maybe it would be better if he sang instead of rapping, but then the autotune country offering, Only God Knows Why came on, and I laughed. Yeah, guess that’s why he rapped. - I usually listen to the albums pretty loud so that I can hear all the detail, but this one, I kept turning down so there was no chance the neighbours would hear it. - And, just for that guy in the reviews who is mad that people don’t like racist misogynists… 0/5 to this racist misogynist Zionist MAGAt.

- Wow - this list is so full of Zios, and I’m boycotting them all. - The mix kind of feels all over the place. - I like her voice, but when it’s really forward in the mix, I can’t really appreciate any of the instruments which all feel blended together. Also, it’s hard to make out most of the lyrics, so the vocals don’t need to be quite so all consuming. It would definitely help if she finished her words. - Was a bit disappointed to find out that the song I liked most (other than the single), Stop your Sobbing, is a cover. - The first half of the album is more engaging than the second half, which drags and doesn’t really introduce anything memorable (other than the single). A lot of the songs felt really long.

- Morrissey is another artist I'm boycotting. I used to listen to the Smiths before the Internet let us know what he's like, so yet another band down the drain, like most of the bands on this list. - I only would listen to the Smiths and Morrissey best of albums, and I always felt kind of embarrassed that I didn’t listen to the actual albums, but this list is totally validating me - the albums are so bloated and mostly filler. This one is no exception - I only like the two singles (plus the melody and jangly guitar on Well I Wonder, which I didn’t know before). I didn’t know How Soon is Now (epic, so so good) is only on the US version… the UK version must be unlistenable. The other songs are a struggle to enjoy, what with his flat singing and lack of interesting melodies. - Yes, I agree that meat is murder. I wish I lived in a world where people didn’t use and hurt animals (or other humans, for that matter), but the song's still not good.

- I like d&b, but this didn’t really hit the spot for me. I wondered why I hadn’t gotten into Goldie given that I like d&b, but now I know… it wasn’t melodic enough for what I like (it was way too ambient). - I really don’t like the vocals…. they mostly feel like they're in a different key than the music/instrumentals and out of tune. And that’s coming from someone who really enjoys “pretty jungle” with women singing. - There are some interesting musical ideas (e.g., the nice baseline and guitar riffs in Sea of Tears, and general ambient noises). - This album is way too long.

- Not these “both sides” Zios. - LOL at the review with the “chord chord chord chord chord vocal chord chord chord” complaint. I can’t not hear it now. - Most of the songs feel like boring filler, but there are some nice melodies sprinkled in (e.g., In My Place, Clocks, Green Eyes), but mostly the tracks are so slow, they make me want to sleep. Man, the drummer must be bored. - I like the vocal fingerprint of Chris Martin's voice, but his technique isn’t all that amazing (nasally, flat at times, especially in the higher registers) & the lyrics are nothing much.

- The music felt like the album cover showed it would, unfortunately - uncool. It felt really dated - like it would have even felt dated when it came out in the 90s. - Some nice base lines and drum beats (especially at the start of Mele H’Bibti). - I dislike his voice for most of it - the higher registers felt strained and thin, and not in a unique kind of way that makes you think “oh, that’s his fingerprint” or “he’s so refreshingly vulnerable!". It just sounded like a voice without much personality straining. His lower, more gravelly range was so much better, but he mostly sang in the shouty higher register. I liked the high register of the woman on El Harba Wine, though, which was easily my favourite song on the album along with C’est la Nuit. - I will never reach for this. - That Imagine cover was… bad. - So long… way too long. - Not a fan of what I read in the Wikipedia page... Probable DV, abandoning an illegitimate child... so, another creep?

- I enjoyed this - I didn’t really know any Marianne Faithfull before those, but she’s a badass, and I can definitely see why she was a muse to so many people. - Best song is Why d’Ya Do It. So good. I felt her anger. - I like her raspy voice - it really helps make the songs feel raw. Obviously, I wish that she didn’t lose her voice because of her struggles and that she had the choice to sing in a more or less raspy voice, but I’m glad that she embraced what she had. - Really happy to have a strong woman with a point of view on this list for once instead of the abundant SAers and pedos. I’d probably rate this a 3.5, but because she used her music to make political and societal statements made me go for a 4, as well as to correct for the many incels and other women haters on this site. - I don’t love the instrumentation as much as the vocals. I like when music is upbeat with sad, thoughtful, or ironic lyrics, but I don’t think it works as well with some of the more disco-adjacent choices here, e.g., suddenly having a sax on “Guilt” just takes away from the feel of it for me. I kind of felt like the instrumentation got pretty dated. - Dislike the nasal and diphthong vocal stylings in “Brain Drain”.

- Classic songs, but most of them are in that nasal or yell-y high vocal register that sounds thin and bothers me. I definitely prefer other Christmas albums. - The majority of the artists, etc on this 1001 albums list are total creeps who I’ve boycotted (I can separate the artist from the music in terms of deciding if it’s good music or not/rating it for it’s musical appeal, but I can’t/won't separate the artist from the music in terms of supporting it), but this is especially egregious - a Christmas album from a psychopath with songs featuring the woman whose life he completely tried to ruin (I guess at least it didn’t include songs from the woman he murdered…)? Hard no.

- The appropriation and entering apartheid SA is problematic, especially given that the album isn’t meant to be a political FU to apartheid - it’s just supposed to “bring this music to light” - so that feels weak, at best. The possible plagiarism is also concerning. - Why would anyone use that bass sound? - I like a handful of songs on here despite the annoying bass, lol, and repeated listens helped me like the album more. - That said, the chorus of Graceland really irritates me - the verses are nice, but it’s ruined by the chorus. Honestly, this is how I feel about a bunch of the songs on the album - super busy with instrumental/vocal elements that I find chaotic and/or annoying (e.g.,The screeching vocals on I Know What I Know and horns on Gumboots and The Boy In The Bubble, the sudden oomba oomba in Under African Skies that’s not sung by a South African, but Linda Ronstadt, lol, the honkey tonk guitar on the final song, the entire That Was Your Mother). Also, what’s with the weird fade out ending on Gumboots?

- Yet another SA'er and woman (and man) beater singing songs about love. Pretty difficult to separate the artist from the art when all the lyrics are supposed to be about love, even just to rate the music. - Title track is a classic banger. The only other song that competes is the Bee Gees cover. I found the rest pretty forgettable. - His voice is thin and nasal/closed, which is a type I just don’t like much. It’s better in his lower registers, but he doesn’t seem to go there often. I like that it is emotive, though.

- A very nice collection of songs, and Vapour Trail is such a good track. - The atmospheric vibe works really well on here, especially with the contrast of the more prominent drums and distortion, which takes it out of just being simple ambient music. - Melodic, and I really like the sparse harmonies, too. Nice constraint, too -it’s not all out all the time, there are peaks and valleys where there is more and less instrumental support (that said, all soaked in distortion all the time). The guitar work is great, too. - Lyrics were pretty unremarkable. - I felt like it was a 4.5, and I’m going to round up because there isn’t a bad track on this album (I don’t love the title track, but that was even from a “bonus CD”).

- I love this album… so catchy with so many bangers. Great melodies and instrumentation. - I almost always choose The Clash over The Ramones (even though I like them, too) when I want to listen to older punk - I find their songs tighter with better production, melody, and musical skill (and appreciation/variation in styles). - My only minor complaint is that it feels like it is a little long - there are a couple songs I would remove to make it tighter, but it’s a 5 for me!

- This guy definitely can’t sing. So. off. key. - The incelcore lyrics are so embarrassing. - The instrumentation is better than the vocals, but is pretty forgettable and one-note - this band seems allergic to an interesting chorus. - Yeah, I hate this album and am absolutely not surprised this band is from Ohio.

- I listened to Travis a lot when the first couple of albums came out, but it’s been a while. - I find the album less enjoyable than I did when it was fresh (I think I like the subsequent album more than this one), but the production is nice and clean, and I still think there are lovely melodies on here (the 4 hits & Slide Show, but unlike all the praise for it in the reviews, I don’t like the hidden track). The other tracks are considerably less interesting and bring this album down. I especially dislike Luv and She’s So Strange. - The really gentle singing can work, but it is a lot for a full album - I just wanted some more grit or energy. It’s super one-note (pun not intended, lol) and lacks variation or expression other than just kind of melancholy, weak, and whiny. - The filler and lack of variation brings it down to a 2.5, but I’m bumping it up to a 3 because of nostalgia and because it’s refreshing that the band seems like it’s probably made up of nice people.

- More pedos/SAers. - Other than Immigrant Song (and Tangerine and maybe the other slower songs later on the album), I find this album pretty overbearing and boring in equal measure. - Often sounds like he’s singing in a different key than the songs, possibly because everyone’s always doing too much.

- I’ve always loved this album, so this is nostalgic for me. But, it also deserves a high score because it’s fun, funky, melodic, and made to dance to. Funky breakbeats FTW! - A couple of the songs aren’t as good as the others, but it’s mostly banger after banger.

- Oh yay, another SA’er and self-declared pimp. - The first couple of songs & All Blues are not my jam (though, I liked and knew the melody of Freddie Freeloader) - they go on too long, the walking baselines are boring, the music feels cluttered, and I want the melody to stick around throughout - they both become more improv-y than I like. - I only enjoy trumpet if it hits every note perfectly, but when it squeaks, honks, or scratches up/down to/on a note, it puts me on edge. I get it’s supposed to elicit coolness, but I just always wish it was cleaner and more emotive. - Blue in Green and Flamenco Sketches were much more emotive than the others, so they were definitely more my speed. - Overall, the longest songs were the least enjoyable.

- So, apparently she said with her whole chest that "Trump is going to ride America through the most challenging 4 years coming pulling out weed , and RFK will inherit America when God is ready to replant and rebuild it righteously.” So, finally a woman on this list, and now she’s just as questionable as the men. Fair to say that she thought differently when she made this album, but it’s hard to listen to it now in the same spirit knowing this. - Nice beats and flow, and I appreciate the political bent of this album (pre the above quote).

- Ugh, yet another creep on this list. - Some interesting production and melodic ideas. - I don’t like his voice, so that makes his stuff harder to like. Also, the lyrics are all about him or his misogyny, so it’s a creep talking about himself. Pretty hard to separate the art from the artist when the art is about the artist. - This album felt way too long, especially the second half - the first half was way better than the second half.

- I don’t know how to review this. It’s a sad story that he was dealing with the onset of schizophrenia without getting the help that he needed. If the album was supposed to be about someone who was trying to express their feelings about going through that, that would be one thing, but this just felt like experiencing someone lose their grip on reality who didn’t know they were unravelling. - Sadly, while there are good musical ideas in there, it is all very unfinished, chaotic, and ends up feeling like a chore. - I don’t know how to phrase this, so this is with utmost respect for Syd, the human being, but I felt like I shouldn’t be listening to this and that it’s exploitative to have released it. It just made me sad that he didn’t have people advocating for/helping him; instead, people who let this album get made and released it while he was in that state. It felt voyeuristic in a very non-consensual way - like a snuff film. I usually listen to the albums at least twice, but this time, even once felt like too much.

- I kind of like it. The first half is atmospheric, but anxiety-inducing. I generally enjoyed the upbeat tracks more (minus Nothing Is). - The woman singer’s vocal tone is pretty. - I don't find the majority of the melodic ideas super interesting, and the ones soaked in so many effects are fully forgettable because they’re so buried. And, I’ve got to say, I hate the detuning effect. - Very much love that they joined the “No Music for Genocide” campaign.

- Definitely enjoy the funky main riff (bass, guitar, and the accompanying organ) of the title track. That said, I’ll never get the appeal of super long songs (especially long drum solos); I don’t get lost in them, I usually just wish they’d end. - The rest of the album was super mid. There was some good bass, organ, and guitar, but the lyrics were not good and the mix felt so far back and muddy that it was overwhelmed by the (underwhelming) singer.

- I used to listen to the Beatles a lot, but I don’t anymore now that I know that John was a SA’er and Paul is a Zionist. - It’s not my favourite Beatles period - I find this stuff dated in that sunny simple 60s and/or sexist way. - Obviously, there are some classic tunes on here — The instrumentation can be kind of basic, but the songwriting is solid, and you can hear that they're getting more interesting than their older stuff. I love how "And I Love Her" has a great minor sound with positive lyrics and "Tell Me Why" has a major sound with sad lyrics, I always love those contradictions in music. - There's also a lot of filler.

- Another pedo on this list. I’ve almost reviewed 100 albums now, and the majority are Zionists, pedos, and/or SA’ers. How about we promote good people instead? Anyone know an equivalent of this exercise that is full of non-pedos? - Listening to pedos sing about love is difficult, at best. And his talking on “I Just Can’t Stop Loving You” made my skin crawl. - Only the singles are even a little good. Is it just me or does Man In The Mirror make you think of that Wilson Phillips song, lol - The others are so annoying. They don’t go anywhere and are not catchy or interesting enough to hit. - This whole album is very dated - the synths especially, and his voice grates on me. - The top review really says everything.

- Oh hooray, another Zio. - It’s that overproduced, sterile sound that I can’t get behind with his nothing voice over it all... - Yeah, this was so forgettable that I forgot I was listening to it. Nothing caught my attention, and I just wished I was listening to something good instead. And, this after getting Michael Jackson the day before didn’t help.

- Positives: They’re proficient musicians, all of them. The production is very good (though bloated instrumentation). - Now that’s out of the way, lol… I’ve never liked Queen because of the jokiness/lack of authenticity in the songs. ’39 took me by surprise because it didn’t feel camp like I had expected. That said, what was with that awful flat vocal harmony - you have Freddie Mercury in your band, so there is no excuse for out of tune vocals. Also, why is the double bass so forward in the mix? - The rest of the album is more of what I expected - like it’s a soundtrack to a camp movie, which is fun for a camp movie/cabaret, but not what I’m looking for in music to just listen to. The lyrics just annoy me - “I’m in love with my car”, like, come on. I agree with the person who said it’s like theatre kids trying to do rock. - I hate Seaside Rendezvous & The Prophet’s Song is torture. - Bohemian Rhapsody and You’re My Best Friend are definitely the standouts. - Not happy they broke the SA apartheid boycott to tour because they weren’t “political” and just wanted to spread fun music. It’s exactly what their music says to me - we don’t actually have anything to say, we just want to be a joke/theatrical.

- Another misogynist Zio SA-er. This list is basically a who’s who of who not to support. I’m starting to get embarrassed that people think I support Zios, pedos, and misogynists when they hear the music coming from my place. I feel dirty doing this challenge. - His guitar playing is pretty uninspired, and the acoustic portion with just him and his guitar isn’t super interesting - he could definitely use instrumentation support… and I’m not talking about the harmonica, which was a lot to take sitting at home - maybe at a show, which I know this is, but I’m not there. Well, I just listened to the second side, and the instrumentation doesn’t help much. - This guy thinks his storytelling is soooo interesting… quoting his lyrics sums it up “little boy lost, he takes himself so seeeeriouslyyyy”. Unfortunately, the music isn’t interesting enough to want to tune into the lyrics, so it ends up being a whole lot of nothing, especially with this crap recording quality where you can’t really distinguish what he’s saying. - Visions of Johanna and Desolation Row exemplify everything that I don’t like about a lot of his music… droning verses that go on forever with nothing interesting to hold on to. Not much in the way of melody, and his vocal affectations get as annoying as the harmonica because it’s the same thing over and over. Out-of-tune nasal, whiny talk singing over barely-there musical support. - Fourth Time Around was nice. I usually like Tambourine Man, but he ruined it on this almost 9-minute version with the worst singing I’ve heard from him in a while - he sounds totally wasted. Ditto on "Like a Rolling Stone” - so out of tune… he can’t hit the notes at the best of times, but absolutely not even close live. - Overall, this never-ending album felt so pretentious. The very mid clapping after the songs just made me feel like this was a bunch of boring people at a very anemic concert. The solo man, guitar, and harmonica-vibe (for the first half) feels like it should be at a campfire and like you had to be there. - The second half is more energetic, but I was still bored/annoyed because the songs did nothing for me and the recording was not clear enough. - It’s a no from me.

- I’ve always loved this album; I’ve listened to it so many times and been to a few of their shows. - Love Lauren’s voice, and the synths are great, in their own right and as a compliment. I also think the lyrics are great and poetic. I’m just not that into the guy's voice - it’s just a little bland. - I think about half of the songs are complete bangers. The others are not as compelling to me, and I do skip some of them, so this feels like a 4.5 to me. I’m going to bump it up, though - nostalgia and it just hit so hard when it first came out. - My faves are “The Mother We Share”, "Gun”, “Lies”, “Recover”, “Lungs”, and “By The Throat” (almost every second song, lol).

- Jack White seems like an aggro creep. Yes, he speaks out against the current Fascist regime in the US, but he assaults people and thinks "honour" is a reason to do so, doesn't speak about and blocks people who ask him about his views on genocide, and harassed Karen Elson. So, yet another band to add to the boycott list. - I agree with another review on re-listening to this now that I'm not as young and with the context of him as a person, it all feels very incel. Dude definitely gives narcissist vibes. - The positive: I liked the raw, garage feel to it, and a handful of the songs are catchy. Yeah, he can't hit all the notes, but it works with the feel of the music - polished is definitely not what they're going for. I think the guitar riffs are fun, and I don't have an issue with the drumming - yeah, it's basic, but it doesn't distract me, at all. - I haven't thought about this album in ages because it doesn't really hit as hard after the novelty has worn off. Also, there are a lot of songs that just aren't that interesting to me.

- Another woman beater. - Yeah, I hate this. Forgettable singer over jazz-adjacent soft "rock". The image it brings to mind is white dudes who think they're intellectuals pining for the good old days. - Yes, they are proficient enough with their instruments and the production is clean, but just like with jazz in general, I feel nothing but left cold and irritated when I listen to it.

- More pedos. - I like the psychedelic punk feel to it. It must have felt super fresh when it came out. Iggy's voice is compelling, and the raw feeling to it all works. - We Will Fall ruined the flow of the album. It droned on forever without any change. It was kind of interesting for the first few seconds, but it got super annoying very fast, especially the backing vocals. - The huge panning right and left bothered me. - The lyrics are simple/repetitive, and hearing "shake, little doll" from pedos makes my skin crawl.

- As mentioned on another album of his, unfortunately, Bowie was another pedo (and possible S/Aer). - I liked this album more than I thought I would. I tried to listen to it once when it first came out, but I didn't like how it started on Blackstar and abandoned and didn't get back to it. I still don't love the beginning/main motif of that song, but it evolves and becomes more interesting to me. - I ended up liking the experimental nature of the album/tonality. I also think it was really well produced, and his voice was great, as always. The bass and drums were nice throughout, too. - I even liked the more jazzy parts of it, which is unusual for me. I think this felt different for a couple reasons. 1. the jazzy elements were always still over the heart of the song, so they didn't just veer off into all harmony without melody/continuation of elements of the pulse of the song, and 2. I think that I liked the horns because they were more in the back of the mix, so they weren't as up front as they usually are in jazz (except for in the solo on Dollar Days where they were up front - and, I liked them least when they were soloing). - I disliked "Sue".

- This guys gives sexual predator vibes... I heard a story from a DJ I follow on Twitch that he once invited her to a party, and ends up it was just him, so he basically tried to turn it into a non-consensual date. This tracks with him saying he dated Natalie Portman, and she said "I was surprised to hear that he characterized the very short time that I knew him as dating because my recollection is a much older man being creepy with me when I just had graduated high school”. So, add yet another entitled, sexist douchebag to this list. Plus this: "In the interview, Moby recalled a conversation with his friends at the party in which they informed him of a game called “knob touch”. “You take your flaccid penis out of your pants, and you brush up against people,” Moby explained to Baldwin. “You win by the amount of people you brush up against.” So, yet another artist on this list I will be boycotting. - Now that that's out of the way, I remember listening to this album a lot back in the day, but I don't remember any of the second half of the album, so I probably skipped that. The songs are well edited, but the album goes on too long. The rest of the songs after Natural Blues feel like filler, so I think the album would be better if they were cut, maybe just keeping Everloving and an edited version of Run On (which, wait for it... runs on too long). - On the first half of the album there is a lot of compelling musicality. The music builds nicely -- the instrumentation is used well/wisely, and there's a nice atmospheric feel while also being really catchy. - So yeah, I haven't listened to this album in ages -- it felt really fresh back in the day, but it didn't really stand the test of time for me. On the songs that I enjoy, you get the main idea of the song in the first 10 seconds, so it doesn't really maintain that level of interest forever. Also, other than the piano solo, Bodyrock didn't really age well.

- This album was, uh, pleasant and inoffensive, I guess. It's kind of lethargic with clean production. I would have liked more energy and grit. - That's especially in contrast to what I expected going in... I thought it was going to be metal because of the (terrible) cover and the title "Feast of Wire", but it ended up giving me a Matt Mays and Conor Oberst do Jazzy Americana + Mariachi, but without the great storytelling (I prefer each of those other artists to this). - To be honest, I wasn't interested/invested enough in the singing to pay attention to the lyrics because the voice was bland and quiet, so it got lost behind the louder instruments.

- Yeah, it's not for me... I can't see myself ever wanting to listen to this, even when angry -- this isn't the way my anger feels, and I don't want to be around anyone who is feeling this way. - The "singer's" voice is annoying , which ruins everything for me - it's just yelling the same out of tune "notes" the whole time, and I have no idea what he's saying except motherfucker, boo fucking hoo, etc., and I don't care. - I found the songs to be completely forgettable. I can't find any compelling melody here, and I don't really care much about the instrumentation, either. - It's maybe 1.5 because there are moments when it's a little engaging, it's definitely ahead of its time, it's short, and it's not as bad as being totally boring, but I'm rounding down anyway.

- My friends loved this album when it came out, so I got into it through them, but I haven't listened to it for a long time. Touching yoooooooou.... touching meeeeee.... - It's really fun... It's like 80s hair band mixed with Freddie Mercury falsetto. I know people didn't really take it seriously when it came out (in 2003), and that + the glam rock leotards & hair is probably why, lol. - The songs are catchy as hell, and the musicianship is good, all around. - Well, that was really good - I liked all the songs, definitely 0 skips. I kept waiting to hear a song that made me write "well, except this song", but it never came. It probably should get a 4, but nostalgia and pure joyful fun means I'm giving it a 5, anyway. Sue me.

- I'm not usually into live albums because of the recording quality, but it sounds like this would have been a really fun concert to be at! The album was a little fuzzy and there were some tapping sounds, etc, but I definitely didn't hesitate to add this to my collection. And... it made me go get all his studio albums so I could have the clean, produced versions. - The crowd work really shows you how charismatic he was, so I'd say that made up for the sound issues. - The songs are great and catchy, and he's such an engaging singer. - I love it. Discovering great stuff like this is what keeps me doing this challenge/project.

- Played a concert in Israel in 2023, but I see nothing from them about the genoicde... I have to assume they're Zionists. And they also did that pro crypto show, lol. I used to listen to them & I think I saw them live at some point, but I guess that will stay in the past. - This album is where I got off the Black Keys train. It has a few good tracks, but it was mostly filler and felt super long. - Unfortunately, the joy and grit of the previous albums doesn't seem to be there - this one feels more plodding and one-note.. - Also, the lyrics feel either really inauthentic or sexist...

- This was a pleasant listen. Instrumentation was atmospheric and/or textural most of the time. - A blend of musical styles on here, so it's hard to pin down, but it was interesting and felt fresh, especially for 1972! - It's different than what I'm used to listening to, but I liked the musicality in the chord choices and the overall lack of pretension. It felt on the uplifting and hopeful side most of the time. - The singing was nice - the singer's voice was clear and melodic. I wouldn't say the tone of his voice was incredibly memorable, and I didn't understand the lyrics, but to me, the emotions his voice evoked were sentimental, sweet, and frustrated (in the more strained/shouty higher registers, mainly). The vocals were a little too loud and in front - I wanted the mix to be a little more balanced. - The album could have used a bit of editing in terms of there being too many songs - it definitely felt too long and more than I wanted to listen to in one sitting. Also, the songs were pretty busy, so even the short ones felt on the long side.

- I know she's supposed to have a great voice, but it just sounds strained and melodramatic, most of the time. Shouting and vocal fry are what she uses for emotion, and I just don't feel it. When she sticks to just the melodic tone in her lower register, it's nice, but she's mostly shouting. She doesn't really have much range where she can keep the tone controlled. - Other than Hello, I find the songs boring and basic. The instrumentation is nothing much, the melodies aren't that interesting, and it's sterile and overproduced. - No thanks to all the songs being about her breakup, too. The lyrics are pretty embarrassing. - This really does nothing for me.

- I don't hate or love this as much as others on this site, lol. - It's obviously experimental and folkloric - in terms of the instrumentation and the dark fairy-tale lyrics. And feral. - The winds area nice touch, and the instruments have nice tone and precision to them. The squeaky instruments like the sitar/recorder thing can be a lot, but they're used pretty sparingly and for effect. I really like the use of percussion and organ, throughout. The instrumentation actually feels restrained (except the weird water sounds on The Water Sounds, lol), which is unexpected since this all is very psychedelic. - The tone of the lead singer's voice also generally is melodic and in tune. I also liked the back up singing/choir feel -- they weren't overwhelming like that kind of thing can often be. The harmonies were often out of tune - I think that was supposed to be for effect, too, but it could be annoying in its dissonance. I got a Neutral Milk Hotel/Decemberists feel at times. - Those couple long songs are definitely too long, and the album could be a lot shorter, for sure. - This was an interesting listen (way more interesting than the Adele album I got yesterday). I'd say it's a 2.5... I was going to say that it's not something that I'm going to add to my collection or listen to again, but it's been growing on me, lol, so maybe I'll round up because it's unique. - I think my cat likes it.

- I expected this to be a lot more experimental than it is. I thought it was kind of dull at first, but it has grown on me a lot. I ended up listening to it all day, and I like the sweetness to the songs and that the lyrics are kind of random and interesting. - The orchestration is restrained and pretty. - His voice is on the lethargic and nasal side, and he doesn't have much range - it gets out of tune when it gets too low or high (or holds a note for a long time, lol). His singing voice is mild and can be nice in a chill way, but it does bring the music down. I guess this is before the cocaine phase. - The other thing that I find less than ideal is that I feel like the music feels like it is kind of under a cloud of dense air.

- This is beautiful. It broke my heart. - He talk sings in a nice baritone, and I think it fits the poetic nature of the music. - The instrumentation is lovely and varied (strings, piano, great bass and guitar licks, etc). The musicality is mostly in the instrumentation, but his voice is a nice compliment.

- This is definitely background music, to me. The bossa nova feel is a lot for a whole album for me. This is pleasant, but doesn't move me at all. I wonder if I would have been more moved if I understood the lyrics, but I kind of doubt it. It gives restaurant/cafe/lounge during warm months vibes . - The guy's voice is weak, and he definitely can't hit those higher notes. The woman's voice is quite nice, but she only sings on a couple songs, though I like when she does. - The sax is pretty nice (I'm not usually into brass heavy music) - a little airy in parts, but mostly had a nice, warm tone. The rest of the instrumentation stays very background, but the piano is pleasant enough, too. - To be fair, I'm not into jazz, but this is pretty much only jazz adjacent and as accessible as jazz gets - it doesn't veer off the melody very far. I just don't find it that interesting, I guess, and the songs aren't super different from each other. It feels like Girl From Ipanema a bunch of times, though O Grande Amor is nice. - I think it's a 2.5. I'll probably round up because this genre isn't really my thing, but I didn't dislike it.

- I really like the guitar playing on this - by far my favourite part of this album. I also liked the flute on River to Consider. - Overall, I found the sound a little too full and busy - there's just too much going on in the instrumentation, so nothing really had a chance to stick out other than the electric guitar. - The singer's voice was a little bland and high up in the mouth/nose - kind of like blend of Travis and Radiohead (and someone else I can't put my finger on - someone in the reviews said Arcade Fire, maybe that's it). I also couldn't make out the lyrics. - I think I liked the instrumental song (Back at the Farm) best on the album - that surprises me because I'm not really into jam bands, in general, but I liked the guitar work a lot. - It grew on me with a few listens, but I still can't see myself ever reaching for this - the melodies aren't memorable enough. It's probably a solid 2.5. - I might round down because of that shitty cover... kind of encapsulates what I was saying about it being too busy.

- It's great; I didn't listen to it when it first came out, but my friends did and loved it. It was clearly groundbreaking at the time. - I enjoy the trip hop/breaks feel to it, and all the sample usage is really cool and well done, especially since it was just made with records + samplers. - That said, I do find it a little disjointed at times, so I don't really get that invested in the (evolution of each) song, itself. - The album also feels a bit too long. - Classic album cover. - It's probably a 3.5 for me, but I'm going to round up on this one, maybe just for the Twin Peaks sample.

(from my previous WS review) - Jack White seems like an aggro creep. Yes, he speaks out against the current Fascist regime in the US, but he assaults people and thinks "honour" is a reason to do so, doesn't speak about and blocks people who ask him about his views on genocide, and harassed Karen Elson. So, yet another band to add to the boycott list. - I listened to this album when it came out and got tired of it pretty quickly. Like all White Stripes albums, it has about a handful of bangers (this one is super front loaded) and the rest is totally skippable/forgettable filler that go on way too long, too. - His voice was particularly bad on this album - just so obviously out of tune. The songs felt too overdone/polished to make the bad singing work - it needs to be more garage-y for that to work for me, so his strained voice stood out too much here. - On the bangers, I like the instrumentation (piano, marimba, cool guitar licks), restrained at points and huge in others (e.g., The Nurse). - Wavering between a 2 and 3... are the bangers good enough to push it to a 3? I don't think so... I was pretty bored after the first handful of songs.

- I was really looking forward to this because I thought I would really like it because I like a lot of the Kinks'(s?) songs, but it kind of bored me. I wasn't taken in by most of the songs... the melodies and instrumentation felt too simple/old-time cutesy and didn't hook me enough. - I liked Two Sisters, with its harpsichord and unique song subject matter. Some fun lyrics throughout the album. I also like Waterloo Sunset - catchy and wistful. - The singers' voices were forgettable. - The songs and album were both short, but everything still felt like it went on a bit too long. - I don't know... it's probably a 2.5 because I liked it more the more I listened to it, but I was still disappointed and won't reach for it again, so I'm rounding down.

- I really don't want to hear about this guy's failing relationship(s)... at all. So boring and whiny and just makes me feel like he's clearly the problem. I wouldn't want to have to try to keep a conversation going with him. Here's my psychoanalysis - dude, you don't really like women, you just want women to make you feel good about yourself. Go figure your shit out. Imagine having dated this guy and then having to hear this album and knowing it exists forever... The lyrics just made me feel a whole lot of secondhand embarrassment. - The music is a slog - too much dissonance and angst to wade through. I hate the out of tune vocals from whiny singing voices. Ugh. - I barely noticed the instrumentation - it all just kind of blended together in either boring plodding or yelling over everything at once fuzz. Nothing memorable in this music, and definitely no catchy melodies. - Cliche and Sacred Attention were okay, I guess. - Despite the short songs, this went on forever (like that relationship probably felt like it did).

- It gives a very sterile/packaged feeling, which is annoying given his soulful voice. Basically, they somehow made a soulful Black man sound like he is singing basic White af music. - The songs bored me - I didn't find anything interesting in them. The instrumentation is your basic 80s random percussion and jangly or honking/horn sounding (I have no idea what effect does that) keys. - Wishing Well and Sign Your Name are jams, for sure, and they were everywhere when I was a kid. - I won't go back to this album, and it doesn't deserve to be on this list. - Reading about how TTD, now Sananda Maltreya after breaking down when he was humiliated about flopping and reinventing himself, kept grandstanding, saying this was the best album in the world makes me like it even less. Delusional narcissism much? This is just so bland.

- Lou Reed (racist) assaulted women. Another on the boycott list. An article about the biographer of Notes from the Velvet Underground: The Life of Lou Reed reads: "During the process of writing the book, which comes out on 22 October, Sounes became aware of Reed’s many disruptive moods, and drew new conclusions about the pioneering musician. 'I loved his music, but you have to go where the story goes,' he told The Daily Beast. 'The obituaries were a bit too kind, he was really a very unpleasant man. A monster really; I think truly the word monster is applicable.'" - I listened to this album a lot before I knew about the above, and it includes a handful of really great songs (e.g., Candy Says, What Goes On, Pale Blue Eyes (beautiful, but too long because it doesn't really go anywhere), Beginning To See The Light, After Hours...) that range from catchy, hazy, and rocking with some well-done distortion. But, mostly hazy - this album is melancholy and slow for the most part. - Thoughtful instrumentation, including, of course, lots of the quintessential jangly heroin-y guitar playing. - Some songs that are very skippable: Some Kinda Love, Jesus, I'm Set Free, That's The Story of My Life... - And can't review this album without saying that I hate The Murder Mystery. So annoying and pretentious. Yes, there are interesting elements to it, but it goes on forever, so it all gets really irritating very quickly. - It's a 3.5 for me, I'll probably round down because there are so many songs that are mid.

- This Dire Straits album is better than the other one that I got on this list. This one has four of their hits. At their best, Dire Straits has great songwriting - the songs are catchy, melodic, and infinitely singable (even though Mark's voice isn't really anything special). - And, I can't talk about Dire Straits without complimenting the guitar playing. - On the other hand, the majority of the songs (even the hits) are on the dated side, but since I grew up with them, the nostalgia overrides that for me. I wonder what I would have thought if I just heard them for the first time now. - Also, like the other one, this album is mainly filler - basically starting at song 4, Your Latest Trick. And all the worst songs are so long. After the hits are over, this album really feels "Adult Contemporary", and that's obviously not a compliment. - Their "Sultans of Swing: The Very Best of Dire Straits" album is the way to go so you don't have to wade through the boring stuff.