1001 Albums Summary

As a dubious but still only intermediate listener of progressive rock/metal, this came as a pleasen surprise. A "never listened to before" although heard mentions. For my taste, prog should have some certain elements of rawness, to not get too pretentious. This album certainly has that rawness. On top of thelat the splendid mix of different genres. Some jazz, punk, core, heavy riffs, complicated bridges. This album will go into my Discogs wishlist.

Never really got into Van Morrison before. I’ve listened to some Stones now and then, and I can kind of see the comparison. But the differences stand out, this record clearly leans toward soul and jazz, while the Stones are grounded in blues grit. “Moondance” was a standout, along with a few other swinging tracks that caught my ear. The rest, though, drifted into pleasant background noise — I listened to it twice, but it didn’t demand my attention. It’s the kind of album I’d want playing if I were a chef on a cruise ship, weeks in the same galley, steady rhythm of work, something smooth to groove to while no one complains. Now I'm not a chef in on a fleet, so likely not gonna listened much to Van Morrison again. Comforting, timeless, and just detached enough to keep you sane.

Refreshing with some New Wave. Not my cup of team, but i suspect them to be some sort of pioneer for the whole movement. I truly enjoyed the listen. The Rolling Stoned cover was lit!

“Off the Wall” was MJ’s first collab with Quincy Jones, you can really hear that magic, diverging from Jackson Five sound. This has more artistic freedom, much more grownup. Tight grooves, lush arrangements, and that mix of funk, soul, and disco that just flows. Every track feels alive. Easily one of the smoothest, most danceable albums ever. Can't help thinking of who MJ ended eventually up to be. Too bad.

Well writen songs, a band that plays really well together, catchy tunes.. good rock n'roll, track after track. I dig Bruce, I dig the E Street. I think i started to dig the big stadium filling movement... but shhhh, dont tell anyone, they might think I'm a boomer.

Cool album cover. High energy, my daughter of 10 months certainly liked it. Perhaps abit repetitive.

I can only imagine this pioneering electronic record must have received mixed reactions when it first came out. Both newcomers and longtime OMD fans probably didn’t know quite what to make of it. First-time listeners might’ve wondered, “What is this new electronic sound—and what are they even playing?”* while seasoned fans could’ve been startled by that opening guitar riff, thinking, “Get that guitar out of my face!” I’ll admit I’ve only listened to OMD a few times before. I'm more familiar with Talk Talk and Depeche Mode,but OMD were clearly there first, right? When I listen to electronic music, I like it dark and immersive, and *Architecture & Morality* absolutely delivers. It’s steeped in religious searching, dystopian atmospheres, and beautifully melancholy choruses. I really enjoyed the experience and will definitely explore more of their catalog. Some tracks did feel like filler, which makes the album’s one-hour runtime a bit stretche, but overall, it’s an evocative and forward-thinking piece of early electronic art.

I couldn’t help drawing parallels while listening to Truth and Soul. Fishbone’s intensity and unpredictability stirred the same feeling I get from Frank Zappa’s best work, that sense of organized chaos where every note has purpose even when it sounds like it shouldn’t. The difference lies in the roots. Fishbone builds from ska and funk, where rhythm is rebellion and joy is the weapon. Zappa’s world grows out of jazz and blues, translating rebellion into composition and satire into precision. As a record, Truth and Soul carries moments of brilliance, with complex horn layers, grooves that twist without breaking, and lyrics that turn political and playful at once. Yet, when placed next to Zappa, the scale of vision shifts. Fishbone took rebellion and made it danceable. Zappa took rebellion and made it symphonic. And while Fishbone’s approach hits the body, Zappa’s reaches deeper into the structure of the music itself. Still, the comparison isn’t about hierarchy but curiosity, tracing how two different languages can express the same restless and creative defiance.

One of my absolute jazz favourites. A few of the album tracks somewhere in my Spotify Wrapped 100. Mostly because they are available on my offline playlist. Perfect flight music, calms me down, and never get tired of the songs. Also, often an album I recommend for those who like to listen more to jazz. Approachable.

Not Bowies best album, although I appreciate the soul approach. Fascination and Fame are absolut great tracks, otherwise the rest does not really awake any groove in me.

Tried to look for the "underrated" and "forgotten" good, couldn't really find it.

The bland of RnR, blues, folk, and even country to some extent. The mix of styled makes this record a joy to listened from the start to end. I will easily give all Zeppelin number albums a five. No question about it. Each album finds it way to my ears now and then, always picking the one Im in the mood for. What I'm in particular listen to in this album is Jones blossom from the bassist in the back to a multi instrumentalist of delicacy. The star of this album, if you ask me.

This album feel lived-in and true. Makes my body move, and my mind to listen consciously. The conscience took me on a expand Wikipedia journey to read more of Marcus Garvey, which I felt enlightening. My earlier reggae listening have consisted of Bob Marley, Peter Tosh, and Peps Persson. Burning Spear will certainly be added that limited, but my preferred reggae.

Amazing voice! And i really enjoyed listening to Ella, for a while. Unfortunately not really the type of jazz that I endure to listening for an extensive time. Certainly not for +3h. A plus for the album cover art work.

What a positive surprise. The Jam has never really been on my radar, yet this record pulled me in right away. There’s something fascinating in how the songs are built. Each track carries a small tension, like there’s always something simmering under the surface. The bass lines feel almost like the main character. Everything else , vocals, sharp drum fills, the guitar’s nervous jangle, plays in support, and the result is a sound that feels surprisingly full and complete. A tight, restless album in all its right.

This album hits with a surprising consistency for something that runs well over two hours. It moves with a confidence that makes it hard to find a real low point, almost as if the duo couldn’t help but deliver quality no matter how wide they stretched the concept. The split structure gives the whole thing its character. Two different visions, two different moods, but somehow still a unified statement. One side sharp and grounded, the other drifting into its own world, yet both pushing the boundaries of what hip-hop could be at the time. The production can feel a bit overbuilt in places, almost like it’s overflowing with ideas, but that’s also part of the charm. It’s ambitious in a way very few mainstream records dared to be. And the big tracks land exactly the way they should. Those huge, era-defining moments pop up almost casually in the middle of the tracklist. It might not be the OutKast album I’d personally place at the very top, but it’s undeniably impressive. Long, bold, inventive, and almost stubbornly free of weak spots. A record that still earns its reputation.

Influences of Stevie Wonder, make it little more country pop, overproduce, and you have a result of something utterly boring. All I Wann Do Is have some fun, and this was not it.

Interesting, exciting, and well composed. Not my favourite King Crimson album, but I can see why this works the best for many.

Throughout my listening of this recording I was often surprised by how good it was. The cover, with Stephen Stills sitting outside next to a garden gnome, is honestly terrible, but his songs landed well. I have always liked the CSNY catalogue, and that same blend of well placed acoustics and layered vocals builds a rich soundscape here too. It is not as multidimensional as CSNY, yet you can clearly hear how Stills is the mind behind much of that creative direction. The first track, though, is rough. Has anyone ever managed to write a genuinely good song that uses eagles as a metaphor. It is such a pretentious shortcut for the idea of freedom. Eagles, America, heroic symbolism, all that. Instead of lifting the music, it disconnects me as a listener.

I could give five stars for Layne Staley’s vocals alone. His voice and his writing sit on their own level. The deepness, darkness and suffering he can carry in a single line is what makes the whole Alice in Chains sound feel complete. Other grunge acts like Nirvana and Soundgarden have never reached me in the same way, but Alice in Chains has always stood higher. It is probably the musical complexity, the heavier tone and once again Staley’s voice and how naturally it locks in with Cantrell’s guitar. There is a blues quality in that blend that feels both raw and deliberate. My previous review was on Stephen Stills and that led me back to CSNY. I cannot help comparing their vocal tonation to Alice in Chains. Both rely on layered harmonies that melt into the instrumental backdrop. CSNY let their harmonies drift upward, open and bright, while Alice in Chains turned the same idea into something tense and shadowed. That is exactly what I enjoy: the claustrophobic, darker version of it. Alice in Chains carries a blues core not in the classic twelve bar sense, but in the emotional pull of how Staley and Cantrell shape their lines. The harmonies may be tight and grunge heavy, yet the phrasing is pure blues, with bends that never resolve cleanly and minor thirds stretched into something aching. The voice and guitar move like two troubled storytellers answering each other, turning the blues inward and darker. Where CSNY used harmonies to lift everything open, Alice in Chains pulled the idea downward into something weighty and human, with the blues sitting right at the centre of that heaviness.

I liked it. The duo created a well-crafted and genuinely high-quality record. The sound is balanced all the way through, and there is a calm confidence in how the music unfolds. At the same time, it felt a bit held back, as if they settled into a safe space instead of reaching for the full potential you can sense underneath. Still a good listen, just not as bold as it could have been.

In terms of musical competition, this is probably the strongest Nick Cave album I have heard. His discography is huge and I have not explored all of it, but this one stands out. In the early spring of 2020, during that strange pocket of hope in the middle of the pandemic, I visited the Nick Cave Experience in Copenhagen. It was an excellent exhibition and the first time I truly had the chance to dwell on Cave as both an artist and a person. The airplane puke bags filled with lyrics, the reconstruction of his Berlin apartment lined with the books that shaped him, and the sheer scope of his creative output showed how many layers there are to his work. Most of all, the amount of writing was overwhelming in the best way. Listening to Abattoir Blues and The Lyre of Orpheus with all of that in mind, it suddenly made perfect sense. The lyrical weight, the way the songs are constructed, the tension and release within the band’s dynamics all feel like the work of someone who has lived inside language and sound for decades. The album becomes a place where that dedication comes together. For anyone who still does not fully grasp Nick Cave, my usual recommendation remains. See him live. With The Bad Seeds or solo, the setting does not matter. The live experience has a way of pulling even the most skeptical listener into his world. This album carries some of that same power, dramatic, literate, and fully alive.

Mjeeh, neither, sheiyyyyöy, this sounds like Ring of Fire, mjööh njääh, holiday is actually quite a decent song with a great riff, bläää, "last song +8 minutes, cool"

I think I finally understand Kendrick Lamar and why so many critics place him at the top of modern hip hop. The flow, the speed, the quirks in his delivery, and the sheer vocal dynamism make his music constantly engaging. My taste within Afro-rooted music leans more toward blues, jazz, funk, and soul, while hip hop has always been harder for me to connect with. I keep trying, but I rarely find acts that stay with me. Kendrick Lamar is one of the exceptions. Much of that comes from the echoes of those other genres I can hear throughout the record. The themes feel honest and unapologetic. The album moves from political reflection to personal darkness and back into different emotional rooms with a natural confidence. There is a bold unpredictability in how the songs unfold, shifting in tone, structure, and even genre in a way that occasionally feels almost avant-garde. It kept me curious throughout, always wanting to know where the next track would take me.

Sometimes it's just about the timing of a record, that eventually impacts the review. Perfect Monday morning music, thank you!

Sorry, I have difficulties to endure Morrissey. As untrustworthy he seems to be as a person, as untrustworthy I see his music. Disconnected emotions in his performance although great voice, and lyrics that occasionally can be anarchist it blends in with religious dedication. Only plus I can find is the backing band which sounds great.

Bossa Nova is a genre that has been negatively impacted by all the background music played in cafes. BGM that often is mainstream hit songs remade into bossa nova covers, probably because it's suitable for the mood and it's royalty free. Astrud Gilberto is great don't get me wrong. I don't think I know any voice that is as calming as hers, and I enjoy listen to her front time to time. Great backing band too. But gotdamn all the Coldplay and Taylor Swift songs, I already dislike, remade into bossa nova covers. Thanks Starbucks etc, your coffee sucks too.

Just the type of music I was hoping to come across in this challenge. It was an interesting and enjoyable listen, even if it is not a genre I naturally prefer. One thing I value in this challenge is how it occasionally highlights pioneering artists and sounds I might not have explored on my own. It leaves me a bit more educated, a bit more musically enlightened, and it reassures me that, even as I approach my forties, I am still not turning into a grumpy reviewer.

Masterful and exciting

I found myself surprised of actually like Sweet Dreams album. The type of pop I endure to listen to. Interesting way of building the songs, great playing, and then ofc topped with Annie Lennox. Annie seems to be such a cool artist.

Listening to Devotional Songs by Nusrat Fateh Ali Khan, I’m happy to see that the 1001 list doesn’t stay inside a fully western bubble. A few reviews ago I had Miles Davis’ electrifying music from the 70s, and I can’t help making a comparison. Qawwali and Miles’ 1970s period sit at opposite poles of the same musical instinct: pushing a single idea toward transcendence. Miles has the electric and the chaotic, while Khan has the spiritual and the hypnotic ascent. Each reaches the sky in their own distinctive way. Miles reaches for cosmic chaos, while Khan moves through devotional, skyward flow. Both rely on trance and improvisation, but Miles builds his trance through groove and electricity, while Khan builds it through unity, voice, and devotion. Miles works with a broader and more complex musical architecture; Khan reaches depth through minimalism and complex vocal tonality. That contrast in perspective is what I’ve been noticing throughout this 1001 challenge. Both Davis and Khan take me on explorative journeys of enjoyment, but at the end of the day, it’s the Miles Davis vehicle I enjoy slightly more. Davis had a five from me. Khan will have a four.

Tricky to review and album thats not fully available on streaming service. Any how, the main single One Nation Under a Groove is awesome. I kind of was not bothered of needing to play the song on repeat (accidentally), that great of a song. Still, not the full album. I'll now have it three stars and get back to revisit the review, once listened to the whole record.

In the lineage of Lynyrd Skynyrd and Blue Öyster Cult, Drive-By Truckers left me somewhat underwhelmed, though not without a few welcome surprises. Modern southern rock rarely speaks to me. It often feels over-produced, compressed to the point of flatness, and stripped of the grit that once made the genre compelling. Most contemporary southern rock records would, for me, struggle to rise above one or two stars. Southern Rock Opera managed to avoid some of those pitfalls. There was a touch of rawness here, a less suffocated sound, which caught me off guard in a positive way. The songwriting is still fairly straightforward and simple, but at least it breathes a little. Overall, it lands at a solid two stars.

Massive Attack, Aphex Twin, Red Snapper... wait hold on, Red Snapper who? Not heard of them before, but Im happy I did now. What great music, and an awesome record.

Joni Mitchell in a modern format. What great sing and songwriter music. The krautish melodies with Jane's voice works as a perfect match. I enjoyed this lot. Best tracks: H>A>K Loops in the Secret Society The Arcitecht

An album that became a turning point in my musical taste and in how I discover music. I will not add much to the endless commentary already written about Led Zeppelin IV, but it was a defining moment for me and one of those records that quietly reshapes how you listen.

Decent prog/psych. One is not always in a mood for that type of music, especially when hangover. I probably need to come back later. Three stars for now.

Its daring, without being too complicated. It is expressive without being too deep. It has a shallow cynism but still manages to have a frightening intensity. I have the difficulty to really appreciate the music fully, but still craving to comprehend it and therefore ending up appreciating it. The inarticulated trying to find it's way to be comprehended. I guess thats punk?

Too much of this overrated band in this challenge.

I can imagine that Foo Fighters music came as a positive surprise when they came out with this first album. Living in the shadows of Nirvana this was probably not what was expected. Full of energy and expression. Well composed band, with good music that was crowd pleasing. As a live music act Foo Fighters is exceptional too. I recall seeing them the first time when I was 17 in Stockholm. Dave Grohl as a performer was mind blowing for me back then. Today looking back at Foo Fighters full discography and music I find it quite dull. A fairly thick mass of similar type of composition.

Great pop music. Great voice. Mystical. Great lyrics. Interesting song constructions. Earlier introduction to Kate Bush through Peter Gabriel, not just a Stranger Things hype. Truly the type of pop I like, when its progressive.

It's a great alternative rock album. It sounds raw and original. Courtneys voice sounds good too, in an original way with fearless expression. But then.. one questions the true originality eventually. Maybe this is just another great Nirvana/ Kurt Cobain album. This detail unfortunately affects the listening experience through the album.

My favourite album from "the big four" of early punk. If this album can even be called pure punk as it explores it's way to other genres. Ska, rock nroll, r&b, and maybe even jazz to some extent. Still it feels it still retains it's roots in themes that often can be found in Punk. This twist is what makes this record interesting. What I think makes the win for me on this album is the slight enhanced level of musical composition from the more simple punk.

It's cool, it's funky, I like to dance. Simply good stuff right through.

A comfort album for me. A couple of times listened through every year. The trios music music I listen to much more irregularly, a few good tracks I like, like Marrakesh Express, but then I find myself abit bored with the mid tier material. Young then again, I like very much. The musical expressivness bot vocals and huitar, the daring and raw sound, and mixing that with beautiful acoustic ballads is something I enjoy with Youngs music. Having then Young accompanied by the trio makes the match perfect. The a capella like dynamics put together in beautiful tunes, and still including Youngs expressivness is what makes this album a true joy to listen through. Each and every track. Eventually making one of the best collabs throughout rock history. One can truly feel how everything is well thought through adding up to a mesmerising music experience.

The Black Saint and the Sinner Lady is an album that truly reveals itself once you understand the turning point jazz was approaching in the early 1960s. Mingus stands here with one foot still rooted in orchestrated, harmonically structured jazz, and the other stepping firmly toward a more modular, collective way of thinking, where music is built from motion, tension, and real-time interaction rather than predetermined chord progressions. The core of the album isn’t individual solos but its overarching dramaturgy. The suite unfolds as a series of interconnected movements, where recurring motifs, rhythmic surges, and emotional releases create an almost balletic narrative. This is not background jazz. It is physical and psychological music, where movement and feeling are as essential as harmony. Mingus’s compositional language is both disciplined and volatile. Spanish and flamenco influences, blues, modern jazz, and moments that verge on free jazz coexist without the album ever losing coherence. The modular structure makes this possible: the music is no longer bound to constant chord changes, allowing energy to shift fluidly from theme to theme and from player to player. The nine-piece ensemble functions like a living organism. The traditional role of a conductor is effectively absent; direction emerges through listening, reacting, and collectively pushing the music forward. Mingus remains a powerful compositional force, but the album breathes through group interaction rather than top-down control. What makes The Black Saint and the Sinner Lady especially compelling is how personal it feels. This is not merely a formal experiment but an internal struggle rendered in sound. It is restless, dramatic, and at times unsettling, yet deeply rewarding. Heard in the context of jazz’s broader evolution, the album clarifies why Mingus was not just a composer or a bassist, but the embodiment of a musical philosophy. This is a record that resists instant comprehension, but one that gives more with every return, as the listener’s ears and understanding continue to evolve.

Plenty of Allmam I like. The record with songs like Jessica is great. This though have been little difficult for me to grasp, although great live recording. It feels like a recording filled with boomer bends, and nothing else.

One of the most consistent soul aöbums out there. Not the greatest hits on this, but every song is consistent and great. One of my favourites

What a fouking wonderful start of the year, I hit the wall immediately. Wonder why all are prepared to give Oasis such high review. I hope this experience slides away, so I don’t need to look back in anger on this review challenge. As I see it: the 1995 record everyone tells you is untouchable. Canon. Sacred. A communal sing-along where you’re expected to raise your pint, and accept that this is as good as it gets. But from the first minutes, I’m already waiting for it to be over, wondering when the revelation is supposed to arrive. The problem isn’t that it’s loud or confident. It’s that it’s written in stone, a Thesis. Every song walks in like it already knows it’s right. Don’t Look Back in Anger tells me not to question it. Wonderwall assumes I’ll be there at the fire site when it matters. Some Might Say shrugs off doubt as if uncertainty itself were a character flaw. And by the time Champagne Supernova floats by, I realise it's not the Champagne I wanted to pop for 2026. This album mistakes repetition for unity and simplicity for universality. These are karaoke anthems before they’re songs,engineered for mass agreement, not discovery. Everything is pushed toward the same litter box: big chorus, open vowels, arms-around-shoulders emotion, pints spilling around. It’s music that doesn’t want to argue with you, but it absolutely expects you to agree. And maybe that’s why it grates. The mainstream love around this record feels more like enforcement. If one don’t feel it, the fault must be yours. You’re told this is the sound of a generation, but generations are rarely this tidy. Life is messier than these songs allow. There’s no real tension here, no risk. So no, this wasn’t the Champagne Supernova I hoped for as my first review of 2026. It didn’t explode, didn’t transport, didn’t even surprise. I understand why people love it. I just don’t believe it deserves the pedestal. And if this review sounds like resistance rather than revelation, that’s because sometimes the most honest response to a cultural monument is simply to say: I was there, I listened And I felt nothing!

The attempt to transition elements of classical music and jazz to a wider audience is, in principle, a respectable one. Blood, Sweat & Tears act as intermediaries, translating complex harmonic ideas into a language that could function on radio and in concert halls alike. In that sense, the album performs a cultural service.

The funk on this album is soo oo good. Motown not that much for my taste

Entertaining, moments of positive surprises.

Wow thanks The opening track of Another Green World was probably the only Brian Eno piece I had heard before listening to this album in full. Familiar yet never enough to pull me further in. I always knew I should have explored his work more deeply but somehow never did. Better later than sooner I suppose. Because this is not an album you casually step into. Labeling it as ambient music feels wrong it is something much more than that. There are traces of rock prog pop and avant garde throughout but none of them behave the way you expect. Another Green World does not aim to impress or overwhelm it quietly challenges your listening habits instead. My taste buds shaped by nearly twenty years of musical exploration felt ready this time. Ready to be receptive ready to be open. This album is not music meant to disappear into the room. It is music that teaches you how to listen differently. And once you approach it that way what it has to offer starts to reveal itself patiently and on its own terms.

Incredible flow throughout the album

Patience and this will grow on you. I finally got to understand Sigur Ros.

Some tracks I really liked, some I did not know what to think of. Lot of horns, maybe too much. And to be frank, during this listening I enjoyed reading others reviews. Some of that are very enlightening.

Sunday morning at home with the kids. The Damned on the speakers, my damned, full domestic mayhem. Lately, this generator has been leaning hard into punk. Dexys Midnight Runners just yesterday, and London Calling barely a week ago. My first instinct was to complain. Why so much punk? Digging a little deeper into the era, the question flips. Punk was not a sidebar. It was the sound of a generation asserting itself. Not the passing, canonized classic rock that retrospectively claims the sixties and seventies, brilliant but often embalmed. Not the silky futurism of Duran Duran, nor the emotionally detached, still astonishing, virtuosity of Van Halen. Punk was urgent, cheap, loud, and human. It spoke from the moment to the moment, with no permission slips required. Watching my kids tumble through their own chaos, laughing, arguing, inventing rules on the fly, I cannot help but wonder what their generation’s music will be. What sound will carry their frustrations, their humor, their sense of this is ours? The answer probably will not be a single genre. It might be fractured, hybrid, algorithm fed, scene less, and somehow still deeply personal. Through this listening challenge, they have heard a wide spread. Noise and melody. Craft and mess. Old and new. Not to shape their taste, but to widen the doorways. To let them recognize, later on, when something feels like their music. The kind that does not ask to be liked, only to be felt. Maybe that is the real inheritance. Not a canon, but a curiosity.

Definitely one of the best live albums I've listened to. Fel Kuti i have listened to from time to time, as well Cream. These type of collabs are often hit or miss, but this was certainly a hit. The flow, the rhythm, and clearly the pure joy of music expressed through different cultures.

I've more or less reverse engineered Radiohead by first getting into Thom Yorkes other project, The Smile. The Smile I enjoy allt, each and every record of them. I find them having great variety on style, interesting music compositions, and skillful playing. From The Smile I've gradually taking steps into Radiohead, still on the path of learning. The challenge with Radiohead have often been that I've noticed myself drifting away from the listening experience. Perhaps having to do with how the songs and album in many occasion sound a little the same. Perhaps it's Yorkes vocal style that sometimes gets abit dominating over the music. Still, once one chooses to look beyond only the vocals, thats when the music starts to open up. Exactly how clearly, like with The Smiles music, I've only partly been able to figure out. Now three stars, but perhaps in a year or so this would likely grow into four or even five.

I just had Radiohead, now The Verve. Picking up matching socks from the drawer. More boring than Radiohead, a few surprising psychedelic parts, but mostly boring. But most importantly, better than Oasis.

Tea for the Tillerman by Cat Stevens was hard listening. The lyrics, even for my ear, had much mansplaining. "I know how the world works — let me tell you" Even if the intent is maybe compassion, but when directed to women or younger crowd it become mansplaining. Compared to, say, Joni Mitchell or later Leonard Cohen, or even Bob Dylan, Stevens rarely turns the lens sharply back on himself. Musically, it’s beautifully economical. Melodies are disarmingly direct. But the lyrics needs re-evaluation.

Excellent voice, Without you is an excellent ballad. Other surprising good songs, although not in my taste of music.

I like this alot. Old school hiphop is something I enjoy listen to, although im not super into the history. The minimalistic approach i liked, leaving more heads pace to listen to the lyrics and it's flow.

Im somewhere between three or four. Just for the sake of the live performance I'd give a five. This must be one of the coolest live settings throughout rock history. When it comes to music, I have always been okay with Cash. Perhaps abit too continuous song structures, but still good lyrics.

I did not know how satirical The Who can be in it's lyrics until I listened through this album. There's a typ of Monthy Python-like wine in this, blended with some interesting song compositions.

Yes, exactly the findings i hoped to come across in this generator. I enjoyed it, but not overwhelmed. I will certainly give it a new chance later on.

One of the albums that really pulled me into rock music and into playing guitar. I was probably 17 or 18 when I first really sat down with Axis, already familiar with old-school heavy rock like Deep Purple and Led Zeppelin. I was also listening to blues at the time, and Jimi felt like the natural connection between those worlds. Looking back, it was probably my first real moment of musical exploration, where different styles started to connect and shape the way I’ve discovered music ever since. Back then I was completely mesmerised by the guitar playing, and only later did I really start to listen to the lyrics. Coming back to the music today, I hear even more nuances that explain why this album is as great as it is. When Hendrix sings and plays, it feels like a duet, almost a conversation. He sings a line, then answers it with a guitar lick or a subtle chord change. Everything flows across the guitar neck with total ease. He sings, and then he sings through the guitar just as naturally. For me, Little Wing sits firmly in my top five songs of all time. Tracks like Castles Made of Sand and Bold As Love are right up there as well, and If 6 Was 9 adds a real sense of excitement. The rest of the tracks are strong too, filling out the record and making it feel like a complete, coherent album.

How many more Coldplays are there in this challenge? :'( I say like Nick Cave: “Music should risk failure. Otherwise it’s just product.” Coldplay = product

Even if the music really dont hit the spot for me, it's always refreshing to have the wikipedia page available to get more enlighten on the history and impact the band has made. Eventually having a more positive impact on the listening experience.

I gave a pretty extensive review on Nick Cave when Abattoir Blues came across, giving it a full five stars. So will I do with this one. What continues mesmerising me is the broad variety of themes that each album and song offers. Like what the hell is he pulling all the inspiration from. Like I wrote in the first review I visited Nick Cave Experience that enlightened me on the deep craftsmanship of art that he possesses. In one of the installations there was a remake of his apartment in Berlin. Filled with books all over the place. Not neatly on shelf, but lying all over the place, looking like they've actually been read. On top of that his constant active writing. On random piece of papers, puking bags on planes, letters, note books. Everywhere where he had access to pen and paper. This must be one of his most powerful albums, and it’s precisely that craftsmanship that makes Ghosteen feel less like an album and more like a place you enter. All of those scattered books, half-finished thoughts, obsessive note-taking and constant writing feel distilled here into something strangely weightless. The music barely insists on being heard; it floats, hovers, waits. And yet it carries an emotional gravity that’s almost unbearable at times. This is grief not as drama, but as atmosphere. As something that lingers in rooms long after the words have stopped.

Better, more original, than the first Hole album.

Great rock! Well composed, great sound, interesting bits and pieces, good guitar sound that fits the vocals. A new encounter for me, and I liked it. Still nothing amazing, rather medium, but good quality.

Two or three songs in it started to be a thick listening for me. Starting to wonder how ZZ Tops early material sounded like, as I doubted that this MTV-mainstream-Hard Rock Cafe background music can't be all. Im glad I did. Perhaps im a blues purist, and can't take it when the sound is too compressed too manufactured. I need the rawness. That's something you'll find in the early material. With that said, and if someone comes across this review, don't go only for this sell out material before doing a full comprehension of ZZ Top.

Love this album. So does my daughter on 1 year. Riktigt Don't Loose That Number have been playing a third time straight, and she's just jamming along. For me the best way to describe this album is; tasty. Tasty compositions, Donald Fagens tasty voice that fits so well with the music, and tasty guitar playing by Walter Becker.

I liked it, challenge me abit. My daughter loved it (1 yo). She would have given it 5 stars. Middle ground, 4.

I was prepared to indulge a predefined opinion about The Doors in this particular album review from that band. Eventually I found myself surprised of how much blues this album is. Which I appreciated alot.

No. There's something I should understand, but I don't.

This album is great from start to finish. Smoothing sensuality throughout. Amazing voice, and great music compositions.

Fuck yeah!

Better than Morrissey

Finally some noise! I can understand that this is not for everyone. Hence the low average score. I don't think noise is for every ear in this review community. But I love it!

Give me old school and I'll like it. I enjoyed the listening. Great flow, certain level of rawness, and lyrics that was more than "pussy, pussy, pussy"

Great lyrics and a voice that fits perfect the music. The expression and use of music truly underscores the amazing artist PJ Harvey is. Interesting melodies that plays in your head long after you've listened to it. I've always liked the band backing PJ. Such great musicians.

Yet another positive surprise. Never heard of this band before, although a relatively extensive active stretch. What surprised me thr most was the constant change of genres. Little Britons here, little shoegaze here, mixed with a splash of noise and psyche. That what was kept me attentive and interested. Although playing in the background, I had to stop to listen more carefully. It got my attention. Big plus for the name of the album. Hence John Coltrane. Four for now, if id let it sink in more it would probably be a five.

The opening track is soo oo good. After that it kind of falls down to a floating middle ground, without trying to sound too critical. Some good blues tunes there too. I enjoy listen to this album more than the first CCR album I reviewed in this generator.

Far away from my music. Although I enjoyed a few tracks: - Love is a wild thing - High horses Otherwise too fabricated and generic lyrics for me.

The Clash is an institution. One of THE Punk bands I like the most. Still, London Calling for me is the best Clash album. Showing the evolvement also musically witha wider range of musical influences what makes that particular album little more interesting than this one. Then again, would I be able to talk about musical evolvement without this one as a base.

It was provocative when this LP came out, it is provocative still today. It generates discussions, which I believe is great. Clever and challenging lyrics, backed by great tracks.

This record is actually quite good. Interesting songs where the theme and style shift from one to another. It's not just Song 2, there's much more. Some dips where I lost interest, but overall good

Witty and clever lyrics. Some Dylan resemble. Musically not really attaching.

Like a well picked low budget high tannic wine. One enjoys it through the bottle, but slowly. And eventually one ends up thinking, I probably would have gotten of something of even better taste, to truly enjoyed even if abit slowly.

Definitely my favourite Radiohead album. One Radiohead album earlier this far, where I believe I explained how I've become a Radiohead fan by first listening to The Smile. Thats where the reason lay why I in particular like this album. Many of the track in this album reminds alot where later the music of The Smile would take it. Progressive, but yet somehow minimalistic would probably the best way for me to explain it. Another "issue" I see with the other Radiohead albums is the way many of the tracks resembles each other, while in this the track after another have much more clear distinctions. That's what makes this an interesting listening.

Weaker than the Blur album. A few great tracks, but then too much bland and boring.

Abit too much British pop/rock lately in this challenge. Well perhaps it makes it more easier to compare. Compared with Blurs Parklife this had a little more nuance in it that fit mu taste buds. Little more depth.

This album is just pure good, old school heavy rock.

There's a wonderful danger looming throughout this whole album. Pixies is something I've for long wanted to familiarise with, and finally had the time for it in this challenge. A strong three. Music i expect to evolve for me more after a time.

The Idiot by Iggy, corroded with Bowie, is my favourite. The psychic and exciting approach on that album is just amazing. While this album is great, it's abit to poppy for me to have it on the same level. Still thats not a major criticism, as I like how this one is too. The Passenger is my all-time Iggy favourite.

Any actually bad music from Fela Kuti? This would get me dancing even in my most darkest hours.

"..I gave you seeeeven children... AND NOW YOU WANNA GIVE THEM BACK..." One of my go-to karaoke tracks once I want to belt out a song after five beers. Not the same shouting from the crowd as for the King, but Im imagining it. Overall, this is one among the albums that got me into blues.

There's Take on Me Also, I'm partly Danish. But then there's not so much else to really cling myself on to.

It's almost like taking Zappa into a more modern vibe. Weirdness that eventually fall into wonderful compositions, in a very very OG way. Artifacting his unrelentless challenge of what good music actually can be, in a modern setting, where his musical approach gets praised and merged to someone like Kendrick Lamar. Im happy that Thundercat was picked for this challenge, otherwise I'd probably had him only somewhere in the background. Really not putting my time into getting the awesomeness he represents. I've seen him live, I have rated To Pimp a Butterfly, and now finally having his full album in front of me. Sure, this is an album that needs its time and patience. It will grow on you.

God damn, what a record. How did this one slip past me? Sure, a few tracks were familiar, but the whole album. holy hell! The genre mix is wild: hip-hop, punk energy, dusty funk grooves, even these almost jam-band instrumentals. It constantly shifts without losing momentum. It just gets more intense for evrry listen. Raw, creative, and unpredictable. An absolute beast of an album.

The opening track is one of the most interesting opening track of any it's pop/rock albums know of. From there I think it's a mixed ride. Some tracks feel somewhat over-spiritual, not knowing if it's truly genuine or pretentious. Those are the lows for me, and the high is ofc Message in a Bottle.

One of the albums that got me into heavy rock, introduced me to Iron Maiden (dual lead guitars), and so forth. Of all the tracks Dancing in the Moonlight used to be my favourite. Today, getting back to this album, I can't help to experience the sound somehow a little hollow. Like there's something, maybe an added instrument, to make the sound more full. Still, a great album.

Definitely my favoriter Stones album. The adoption of gospel and blues into an interesting and energetic format, without loosing the connection to the roots. Songs such as “Rocks Off,” “Rip This Joint,” and “Tumbling Dice” keep the raw rock energy while still sounding like they grew directly out of blues and American roots music. British rock musicians stepping themselves in American musical traditions but keeping a loose, dirty energy rather than polishing it.

There's so much to say about this recording. The full history and background. Im sure there's plenty in others reviews describing all the bits and pieces of the wrong piano, Jarrett's back pains, his attempt earlier on this tour, and have the tour was financed. There's a recent screen play surrounding this almost mythological concert called "Köln 75". The build up towards this concert from the perspective of 17 yo girl who acts like a promoter for jazz in Germany. As well, one of my strong recommendations is to at least abit try to read up on the evolvement of jazz until this point. How it's gone from big band swing, to be pop, to free jazz, to this... full on improvisation.

Im first like, noup really not my genre... A few songs in and Im still not convinced of even trying... still want to give it chance. Then 4 or 5 songs in, and it sure becomes more interesting, little more deep, little more interesting compositions. At least, avoiding me from giving it a one-star rating. I made it finally to the end, and surely can say I did not loose interest. Enough for a strong two star rating.

I have to be honest, i have difficulties with both Morrissey and The Smiths. Low reviews from me this far. Buth this was kind of good. A complete album, great band, good guitar work, tunes to remember.

I liked this!

Great jazz, maybe not making move that much. Although, in a busy stage of my life, and really contemplating good jazz is not the easiest right nowm

Top level pop. Amazing song writing, great composition, interesting shift of wibes.

What's not to like on this album. So smooth from start to finish. Perhaps missing out on those more electric tracks like "Rikki don't loose that number"

I like this, I know I should Like it even more, only not yet.

I love prog!

Its dark and deep. Instrumentally interesting. Robert Smith voice and artistry a great addition ...but then thats where it stays and sticks. An average that never really care to take off.

Not the best lyrics, not the most difficult guitar playing, not the most complicated compositions. But it's damn good rock n'roll!

Again, I should like this. Beautiful song writing. At least based on all the praise Elliot Smith is getting from the friends of mine. And of course the tragedy of his destiny. But still, it's not really reaching up there for me to fully dig it. I shall remain growing.

From alternative to alternative. Indie to indie. Little heavier and more rough than regular 90s indie. I like this!

I tried to be patient, give it time, and even listen to it twice, but really couldn't find somwthing I truly like. I mean voice is unique and fits. Soft punk a genre?

Milton I want to put in the same category as artists like Franco Battiato or Manu Chao. Non-English speaking artists who manages to create great, and in particular, interesting pop/rock. Perhaps it's exactly the non-english speaking what allows them to extend over the typical standards. Not required to go through the UK or US rise to fame route, dictated by the record labelsdictated by the record labels, with their formatting instincts and radio-friendliness radar. Milton Nascimento, Battiato, Chao — they were never auditioning for Anglo-American approval. Songs breathe differently here. They develop.

Surprisingly good, best post Beatles album I've heard.

Very consistent album, with some top notch jazz. Very cool jazz. I think I had this playing three loops over the easter dinner

For me this is like delta blues meeting pop. Difficult not to like it, but also nothing I would listen for an extensive time. Rita Heigworth song is great!

If this is the album that sparked jay-z's greatness, I dont wonder. I liked this!

No, I dont like this album as the previous OutKast I had in this challenge. Im usually not having any issues with long records, but this unfortunately felt too long.

What a deep and beautiful record. Totally new acquaintance for me. A listen it through with care, and followed the lyrics through Spotify. Amazing lyricist, Nick Drake. At that point I was already prepared to give a four. Then I did some further reading on Nick Drake. The tragic of his life, the way he felt about live performance, and then the music he create with such a depth around those matters. Wow, beautiful, and deep. Nothing more to say.

Windows is a great musician, no doubts about it. But this was unfortunately boring

Again, I like this type of hip hop. A classic I guess?

I like it, very bluesy. Then again I experience there's been a little too much CCR in this challenge this far.

The hit songs I've heard, but then nothing too much that sparked in me. I guess Trent have had its comparisons to Michael Jackson back in the days? But in my ears falls into the shadows

Generally I've been fairly passive on my reviews for brit pop/rock records, but this stands out. Orchestra, French movie theme, baroqueness, all things that might risk it being too pretentious. It almost becomes that, considering especially the lyrics thats not necessary as clever as Arctic Monkeys, but still there's something that makes this sounds like something that breaks to regular brit pop ground. Bold!

"His name was Robert Paulson"... what not to like in this mini-epic album. It's grandiose but silly at the same time. I enjoyed the listening.

All the nostalgia from my childhood comes around. Butnlistening to this, now, can't really like this. Lyrics too, how okay today, really?

Harris mostly known through the Knophler collab mostly. Refreshing to have her solo material too, beautiful, amazing voice. Music itself, some tracks really good, like the opening one. But then some sounded more like little dull ABBA country covers. Sorry.

A strong three. Music Im certain would grow in my music taste scale.

Sorry Mariah, mostöy background music. Some nice 90s beats

What a great album. Great energy, great composition. The tightness and almost conceptual approach of the full record, awesome!

Fick this is good! The soundscape, the concept, the stylish social Reflection. Feels like Im traveling the tube in NY, watching each station fly by, while Im doing my best to come up a way to make the world order come into it's place as best as I can.

f(t)=Asin(2πωt+ϕ)

Throughout this challenge I've learned to appreciate glam rock little more. This is a interesting album, and interesting music.

Refreshing to listen to Pink Floyds other material besides The Wall and DOTM. More psychedelic, creative, but perhaps misses out on those banger tunes.

For the music I'd give a four. There are, as with Nirvana in general, some tracks I truly like, some I dont. The five star rating eventually comes due to what this album represents for music history. What MTV was then, and how they went against it. And the honesty and intimacy, simply wow!

There's something with these big name rappers, and their "early material". Probably the certain rawness, yet not overly mainstream, authentic.

Cool music, learned something new

A well crafted record. Higher Ground of course the top of the album. Stevie Wonder is someone I've always wanted to like more than I ve done. I did three retries with this album, to finally getting to that point. The components: 1. Musical composition 2. Lyrics 3. Production With each attempt I tried to focus on each context. That thorough work in this album what made it finally. Focusing on one context only would have made me land on a three, but when all came together, a four is well deserved.

Californication feels less like a meticulously constructed “front-to-back masterpiece” and more like a collection of era-defining singles and emotional snapshots from a band rediscovering itself at exactly the right cultural moment.

It's kind of cool music. The blend of acoustic soul wibes with distorted electric guitar. Can become little dull at times.

So delicate, excellent song writing, meaningful lyrics. Music composition by PJ and her band I regard as very underrated. Keeps things interesting and exciting

Pleasent

Still having troubles to know whether I like Smashing or not. This was okay though

This is actually a really good album. I enjoy listening to this typical MTV famous artists albums, which I mostly know through the hit singles. As the singles are not telling the full truth, it's exciting to see what more there are to it. Often either hit or miss. This was more of a hit.

Okay, Im in love. Moby, damn, finally listening to Moby properly, amazing music!

One of my go-to soul/funk records. What often troubles me with soul/funk is that it's difficult to find full albums that are great from start to finish. 3+3 certainly is awesome, as a whole. The way The Isley Brothers managed to fuse raw funk grooves, psychedelic rock, smooth soul and socially conscious songwriting into something this cohesive still feels special. It has the warmth of a family jam session, but also the ambition of a band clearly pushing beyond traditional soul formulas. Tracks like “That Lady” and “Summer Breeze” may be the obvious landmarks, but what makes the album endure is how naturally the deeper cuts carry the same atmosphere and emotional weight.

Okay, a little funky punk. Just feel theres a little too much of that genre in this challenge

This is probably better than an positive two, but due to the overflow of britpop and punk in this challenge I can't give more than that

Exciting music, tasty psych, great vocals. New encounter that suits very well into my taste buds

So damn really good. The voice ofc, but the groove too. Why do I find this as the perfect powerlifting music

Aleays a pleasure to listen to Joni. Such a unique and beautiful voice. Not as good as Yellow Taxi though

I've always liked the track Working Class Hero. Otherwise the album feels kind of arrogant

Not my music, not my metal

This swings and it's cool

Quite bland rock music with some good peaks

I bet not many are really into this type of music in this challenge, but I damn love it. I listened to this album twice back-to-back. I could have done a third

This wasactually quite good. Entertaining music, little weird, but eventually good composition.

Okay pop music.

Wow, Im surprised how boring this is. I know John Cale have a few good songs here and there, but this really not.

I believe I like this album more than the Stranger Things record. Rocket's Tail, jesus what a song! Give me cold shivers!

I cant deny I like 70s prog. My dirty little secret

Very good pop. Luka song the only one i know from her, which I dont like much. But this whole was great

Cult of personality is an absolute blast of a track, but after that the album makes me abit uncomfortable. Its an uncomfortable back and forth between Van Halen and funk.