Violator is a lean and mean synthpop powerhouse by a band reaching the height of their talent. There's no fat to trim here...this is a no skipper filled with emotive songs that hold up extremely well.
It's hard to believe so much amazing talent could be crammed into one album. I wonder if they knew how good this record was when they recorded it?
Lust for Life is an iconic record but for me its achievements are overshadowed by the fact that David Bowie penned most of it. For me it has the same sound and feel of Bowie's own Hansa Studio albums...in fact I don't feel we get a true Iggy Pop solo album until 1979's New Values.
Hard to see this as anything other than a cornerstone of grunge and the 90s itself. I was never a Pearl Jam fan but you can't deny the blueprint Ten provided for countless other bands.
Just as good in its own way as Dark Side of the Moon. Plus, it's David Gilmour's favorite record Pink Floyd made...that really says it all.
This album changed the zeitgeist in the 2000s by being a vision and sound that people didn't see coming. Is it a masterpiece? No. It's flawed, but still important because it offered an alternative to pre-packaged pop.
Having never heard this record before, imagine my surprise when I'm hearing its influences on Pulp, Portishead, Beck, and beyond. It's a spectacular album and this is exactly why I am doing this challenge.
Listening to New Forms in 2026 is not the same experience it was in 1997. Though it sounds very much of its time, you have to take stock of the musical landscape then. Drum and Bass was just emerging from techno, jungle, and bigbeat, and this record was heralded as one of the great albums of the new genre. Don't believe me? It won the Mercury Prize for best album in 97, beating OK Computer by Radiohead, Fat of the Land by The Prodigy, and Dig Your Own Hole by The Chemical Brothers. All arguably better albums in hindsight (and to many at the time as well). Regardless of your feelings on DnB as a genre, Roni Size captured lightning in a bottle with New Forms.
I was working at a mom and pop record store when this came out. I cannot understate how many people came in to buy this album. Race, gender, and social standing had no impact. Stankonia is a perfect example of how music is a language that connects us all. This is 10/10 storytelling using rap as a medium.
Private Dancer is a singles heavy album with a fair share of filler, including some cover songs of dubious quality. However, context is important, and the aforementioned singles are absolute smash hits that revitalized Turner's career and cemented her legacy as one of the all time greats. That being said, I've got zero tolerance for filler and it's reflected in my rating.
I was aware of Elbow but I honestly can't remember listening to them before this popped up as my next album. The Seldom Seen Kid is an absolutely phenomenal record with skillfully layered songs and and emotional punch. It will be getting plenty of rotation going forward!
There's something out there for everyone, and this avant-garde experience of a record proves that. It's a challenge to sit through, and that's from a fan of progressive and avant-garde music. Its unique qualities and willingness to break the conventional rules has to be why Dub Housing is in the 1001, because it was a chore for me.
Good: All killer, no filler
Bad: Lyrics are terrible
Regardless of the lyrical quality, Linkin Park are on the Mount Rushmore of nu metal and this record was a smash hit that helped define alternative heavy music in the 00s
This is a perfect example of a "what if?" album. The United States of America released an experimental, psychedelic rock album infused with electronics, showing they were pushing the envelope. Unfortunately they broke up almost immediately and what they could've done is lost to interpersonal issues within the band. All that said, the record is a little too cleanly produced for my tastes (especially for psychedelia), and the vocals are so-so, though I do see the reasoning for its inclusion in the 1001.
I remember this album taking a while to gain traction, which I noticed with surprise as a Moby fan. Thanks to brilliant post-release marketing via usage of tracks in commericals it exploded and became the massive crossover electronic smash we all know and love. Its blend of downtempo beats and traditional roots style samples make this one of the most accessible albums in electronic music for the uninitiated.
Yankee Hotel Foxtrot is a perfect album. Not only is it probably Wilco's most accessible album, it's also a fan favorite of die-hard followers of the group. They take pop conventions and bend them to their will and that's no easy task.
As with much of Zeppelin's work, the blueprint of music in the decades to follow are readily apparent in Physical Graffiti. For me what sets this album apart is the quality of work, from start to finish...no easy feat in a double LP. Nevermind the fact that over half the songs are outtakes left off of previous records, the deep cuts on this record far exceed what most bands would count as the best work in their entire discography.
For me this one is a musical representation of what it felt like to grow up in the late cold war years...great freedom to explore but saddled with a feeling of apocalyptic dread. It's not their most complete work, but still an amazing record.
I understand this album is held in high regard, but I am not a fan of indulgent 20 and 30 minute long jam sessions...I don't care who the band is. This is just not for me.
It's a little too bright at clean for the old outlaw country fan in me, but there's no denying that The Eagles (and their friend Jackson Browne) struck California country rock gold here. The production is rock solid and this self-titled debut is a marvel in the world of debut records.
The Black Album may not be the favorite of die-hard fans, but it's not hated either. Metallica's transition from thrash to a more MTV friendly sound made them household names. Bob Rock's production, killer hooks, and zero filler introduced the band to a whole new audience that has carried them through to this day, whether the old school thrash fans like it or not.
While her cursive vocal delivery and sometimes crass descriptions normalizing infidelity, CTRL by SZA also gives a voice to a lot of women who lack confidence in themselves. SZA bravely wears her heart on her sleeve and there's a lot to be said about that. Add in an accomplished musical score and you've got an understandable entry into the 1001, even if it's not my favorite.
Gritty and raw...with a delivery like a right cross to the jaw. This is essential 90s rap.
Creedence was on of the most prolific bands of the late 60s and early 70s, and none of it was bloated with filler. Green River is no exception!
Without this record we might not have Wilco, The Black Crowes, The Jayhawks, Counting Crows and more. It sounds like it could've come out anytime in the last 5 decades, which is the definition of timeless.
Lou Reed wanted to switch things up after two albums and accidentally laid the foundation for shoegaze and countless indie rock bands. You may not appreciate his New York street poet delivery, but there's no denying the influence of this record.
I know there's talent here, and I understand that most of the progressive metal and technical metal I enjoy is based on a foundation of jazz. That being said, my enjoyment of the genre ends with the Local on the 8s circa 1993 Weather Channel.
Essential and highly influential post-punk record that paved that walked so that Nine Inch Nails, Ministry, Godflesh, and Helmet could run.
This album blew my mind when it came out. Portishead had a secret weapon named Beth Gibbons that other trip hop bands didn't have.
Of all the really popular albums of the Britpop era, Elastica was one of the few that managed to create a record that still sounds fresh today. They had a sneer and swagger that other bands just didn't have.
I could listen to this album forever and still hear new things. The man is a sculptor of words.
An absolutely beautiful record with way too many words crammed into the verses.
Sounds like a haunting radio transmission from an alternate earth o e dimension over...like maybe you aren't supposed to be hearing it. It's a wildly influential record in industrial music, but not for casual listening, that's for sure.
Side 1 is about as good a prog rock can possibly be. Side 2 🤷♂️
Led Zeppelin III walked so that Led Zeppelin IV could run.
Though it wears the psychedelic rock of the USA and UK on its sleeve, the self-titled debut from Os Mutantes manages to infuse its own Brazilian tropicalia flair to create something new and fun.
If you can only listen to one Bob Dylan album, I'd say Blood on the Tracks would be a great candidate. It's a no skip record that captures the pure essence of Dylan.
QOTSA certainly deserve their place in the 1001...they're one of the best active rock bands in America. However, their discography is home to several better records than their self-titled debut. That being said, this record is a potent blend of hedonistic rock and established the QOTSA sound.
Urban Hymns is the closing credits for the Britpop era. It's a band firing on all creative cylinders and the result is a melancholic masterpiece that shined brighter than their contemporaries in 1997.
There's a reason King Crimson's debut album is brought up in conversations about the greatest prog rock albums of all time.
Though I think Welcome to the Terrordome is a superior albums, Public Enemy really showed they had staying power with A Nation of Millions. More than that, they also showed they had something to say, addressing politics, racism, and politics.
Certified classic from start to finish, with no skips. Green's smooth as silk delivery is one of a kind.
While Fats Domino may be an influential singer, especially in the transition of soul into rock, this album is mostly filler surrounding Blueberry Hill.
Murder Ballads is filled with rich storytelling, real emotions, and a cohesive album start to finish. It's a magnificent album.
A complicated blend of of storytelling through the filter of depression, sadness, and addiction. Though it's his highest charting record, Figure 8 is not my favorite of his discography. That being said, it's still a brilliant stroke of melancholic genius.
A true obscure treasure. How David Geffen could hate this album so much is beyond me. Gene Clark thought it was his magnum opus and died of self destruction when the label squashed it and hid it away for almost two decades. Turns out he was right all along. Stick that in your pipe and smoke it, Geffen.
The Psychedelic Furs expand their post-punk sound, sprinkling in a bit of radio friendly new wave, on their album Talk Talk Talk. They also impacted pop culture by inspiring the film Pretty in Pink. Not a bad way to avoid the sophomore jinx!
Skynyrd's debut is a quintessential southern rock album (it could be argued as THE southern rock album). The band had been polishing their repertoire for almost a decade before its release, and it shows. It's filled with confident swagger and every song could have been a single.
Well written and well arranged, but Bush's whimsical and frequently childlike affectations in the vocals drag it down. She's got a great voice but the baby talk singing makes me cringe.
A true lightning in a bottle, one and done record. Not bad for a 24 year old sitting at their PC on the Isle of Skye in Scotland using freeware and available early 2000s recording/looping software. Definitely ahead of the curve, as EDM was just about to break out big by the end of the decade.
Nile Rodgers basslines are absolutely filthy. Even if you don't like disco it's worth listening to for his work alone.
I believe this is the most complete album by The Doors. It's straightforward, blues driven, rock and roll...no filler and no long jam sessions to take up space. Even the deep album cuts are gems.
Wears the influence of Elliott Smith and Nick Drake on its sleeves, with Badly Drawn Boy adding his own rustic grandiosity. A lack of editing holds it back from the greatness of its influences, but the experience is worth having, all the same.
Pure and simple gospel based country, best heard through an AM broadcast on an old radio.
Smooth and accessible + a rhythm section that brings it.
Pure, alternative indie-rock. Sebadoh may not be household names, but only because they liked it better that way.
The quintessential Lou Reed solo release
Far more ambitious than what I was expecting. This was a fun listen for someone only familiar with a couple songs.
Middle of the road Floyd album for me. It's bogged down by being a bloated, overindulgent double LP when it would've served better with less filler
One of the most confident debut albums of all time. Music From Big Pink was influential to some of the biggest players in the industry, from The Beatles to Pink Floyd. It rightfully deserves its revered status.
Great example of a hip hop outfit where the mixtables take front and center. Far more avant-garde than I was expecting!
Green Day grows up on this record, eschewing the rude and crude...replaced with political banter and a punk rock opera.
Want Two is the moodier and melancholic sibling of the more upbeat and showtunesy Want One. I personally prefer Want One but my favorite song by Wainwright is on Want Two (The Art Teacher), but that's my point. You're never going to go wrong because everything he's released is worth your time.
Sardonic and satirical, We're Only In It For The Money is Zappa doing what he does best. The question is whether you like that or not. I'm more in the camp of appreciating it for what it represents, and less for its musical merit.
Not what I expected from the name of the album, but it wasn't bad. I can always listen to some downtempo jazz.
100% essential hip-hop that has aged like a fine wine. It's raw, it's grimy, and it's delivered with confident swagger.
Coldplay's most complete album. It established them as an arena touring power with worldwide reach, and gathered a plethora of deserved accolades. It's a shame they're no longer making music this cohesively good.
One of the most important glam rock bands ever, despite their small discography and lack of big success. While they may not have brought anything new to the musical table, their impact on the style of the entire 1980s metal scene makes it pretty irrelevant.
Blur helped drive a stake in Britpop by switching things up and showing they were far more than a mere pop band.
Talented Scottish outfit championed by Peter Gabriel. The album is, solid front to back but nothing worth being in the 1001 🤷♂️
It's hard to imagine Randy Newman as anything but a Disney soundtrack man, which is a huge honor but also an anchor
Musically sound record that's unfortunately lyrically based on Ayn Rand principles (Peart has since admitted it was a youthful phase). Docking a star.
I absolutely love the out of pocket samples and the hands on Prince Paul production. I don't love having an album pushing 30 tracks, but it doesn't hurt the overall feel.
Nothing more rock and roll than breaking up before releasing one of the all time great albums.
No filler, but no killer either 🤷♂️
A brilliant album with edges honed by the world of post-9/11 Americana
Dead Kennedys managed to bring their well known kenetic live show energy and jam it into every second of this record.
A companion to Bowie's Blackstar, Cohen's Swan Song is an introspective masterpiece that can only come from a full lifetime.
Blends styles unlike anything I've ever heard. It's a beautifully crafted, melancholic, and kinda Bondsian. I'm digging it!
This is THE post-punk album. If you can only own one post-punk record,.my vote goes to Unknown Pleasures.
Pioneering album that paved the way for bands like My Bloody Valentine, Lush, Slowdive, and more. A beautiful wall of static and noise.
Dusty Springfield bends these standards and classics to her will. Great intro to the future LGBTQ icon.
Great transitional album from the 1960s into the 1970s. Well produced, a great experience, and essential listening.
Third is the bittersweet soundtrack of a dying band. It's too bad Big Star wasn't more recognized in their time, but theirs is also a tale as old as rock and roll itself. Thankfully the power pop icons live on through music.
Don't judge this one by its cover...it's truly a hidden gem of a record. Too bad it's the only solo work we got.
Commercial breakthrough for the band, and our glimpse at what Supertramp had in store for the future. Fun album by a band finding their footing.
A brilliant, forward thinking rock masterpiece that's wrapped in a self-indulgent, bloated album.
As someone only familiar with Maps before getting this assignment, imagine my surprise finding out the Yeah Yeah Yeahs are garage punk. Solid album, poorly marketed.
Stepping stone album for what would become the sound of the 90s. Hard to believe this came out in 1987!
A grimy, lived in, and bleak record that continues to connect because it was written about a real place by a real person.
A beautiful, sparse love letter to the American west. Side B struggles a bit, but it's a great listen regardless.
Rise and Fall isn't my favorite Bowie record of the Ziggy era (I much prefer Aladdin Sane), but that's just semantics. It's still one of the all time great rock albums.
Not a fan of the affectation she put on for the vocals on this one. I read an interview about how she said.the songs resonated more with a new voice. But, what do I know, it did win her a second Mercury Prize 🤷♂️
Is every track as strong as London Calling, Guns of Brixton, or Train in Vain? No, but how could they be? It's a solid overall experience and essential punk.
Enjoyed this more than I expected to. I wouldn't have ever believed I'd be giving a thumbs up to a heavily bossa nova infused record, but here we are.
Pump has aged well musically (not so much lyrically), and it includes several of their biggest hits. It's unfortunately hampered by an equal amount of generic Aerosmith rock and roll tracks that are middling to okay.
Strong album with an even stronger message. Unfortunately, Steve Lillywhite's sparse production hampers the experience tremendously. Even the 2008 remastered edition feels like Larry Mullen is in another room because the percussion is so muddy.
The album that broke Kraftwerk into the mainstream! The title track is one of the most important synthpop tracks of all time.
This was a hard album to track down since it's out of print, but I managed to cobble together a playlist thanks to YouTube. Basically collected early material then late 90s versions of the same songs. I personally think Throwing Muses has far better work in their discography, but this does show a young band helping to kick start the alt-rock movement that would overtake the 90s.
Didn't pay much attention to this record in 96. I was into Wu-Tang and Public Enemy in the 90s, plus whatever the ex-NWA members were up to. Listening ad an adult reveals an album rich with storytelling, great production, and a positive overall experience. Teenage me missed out.
Straight Outta Compton charted on Billboard, introduced gangsta rap to the masses, and would change the course of music. It's one of my favorite rap albums ever, though side A outperforms side B by a decent amount.
This is a band firing on all cylinders, if you'll allow a super obvious pun. It's true though. ZZ Top blend the wide open spaces of road trip Texas, classic American cars, and a respect for the classics that paved the way. The front end of Eliminator is so stacked, you'd be justified in thinking you were listening to a greatest hits collection. Once you hit side B things thin out a bit, but even then there's no filler to avoid. ZZ Top don't have time for that nonsense.
This was a fun deep dive into a band I was introduced to by Jackass, Wild Boyz, and Viva la Bam. It's irreverent punk played fast and fun and its held up well despite being almost 30 years old.
I'm in the minority, but this is easily my least favorite Talking Heads album. Eno's production is heavy handed and the infusion of Afrofunk leaves you with a record that sounds nothing like anything in their discography. It may be a critical darling but there's a reason why it's their worst selling album.
A confident debut filled with swagger and talent to back it up + it's one of the very first albums credited for kicking off Britpop. The crazy part is that they have even better albums in their discography!
Top 10 hip-hop album ever. The lyrical flow is impeccable, the production is flawless, and I can't recommend it high enough.
This soundtrack earned Prince an Academy Award, cemented his legend as a pop culture icon, and is so good it's practically a greatest hits collection.
Frustratingly good. It has soaring highs, but some genuinely terrible filler hold it back. It's a good album, but it could have been great.
Probably their best work of the 70s, plus a multiple Grammy winner. It's very much of its time period, and as such sounds more funky than what you might expect.
Bat Out of Hell is an epic rock opera written by Jim Steinman as a modern take on the Peter Pan story. Honestly,.what else do you need to know? Well, other than the fact that it's performed by a long haired, famously sweaty man named Meat Loaf. Want to know what's crazier than every sentence you just read? It works. All of it works. Most of this is a credit to Meat Loaf and the way he fully commits to the source material. Is it kinda cheesy and over the top? Sure it is, but Meat Loaf believes it so you do too. Simple as that.
Iron Maiden were destined for greatness right from the beginning. The first of two records with Paul Di'anno on vocals, their self-titled debut has a roughness and streetwise feel that later albums with Dickinson don't have. Add in the Judas Priest inspired dual guitar attack and you have a pretty great record. Side B falters a bit, but it would still find itself in the upper half of the Maiden discography.
Has to be one of the most sampled records ever, and with good reason!
There's a subtle beauty to the music of Everything But the Girl. There's also a timeless feel to these songs, especially with the knowledge that it sounds nothing like the common pop trash of the 1980s. Side B plays it a little safe, which is a bummer after the album starts on a run of truly great songs. Regardless, Idlewild is one of the more pleasant surprises in my journey so far.
As someone who doesn't partake much in pop music, Back to Basics was surprisingly good (well, half of it anyway). Disc one is amazing, delivering inspired takes on the musical styles that influenced her. The second disc was closer to the music I was expecting, and I didn't enjoy it nearly as much. Regardless, there's no denying Christina's voice.
Freewheelin' is rough around the edges, but that's kind of what makes it special. Dylan, his harmonica, and his sometimes out of tune guitar are all you're gonna get here. The raw, stripped down conversational nature of the record was a revolution at the time, inspired thousands to pick up a guitar, and speak their own truths. There's an infinite power in that, whether or not you care for Dylan.
Freewheelin' isn't perfect, despite its legendary status. Not every track is going to land, and that's okay. The overall experience is a good one, and it still feels fresh decades and decades after it was released.
Obviously talented noise rock outfit outfit, but too repetitive for my tastes. It also started stronger than it ended, which tends to be a pet peeve of mine.
After her techno heavy Ray of Light with William Orbit behind the knobs, Madonna tapped French producer Mirwais for Music. This kept things in the dance realm but with an earthier acoustic tone. The glitched out guitars, hiccups in the beats, and manipulated vocals were pushing the edges of creativity at the time, maintaining Madonna's ability to stay ahead of and create trends. I'm not a huge fan, but this was one of those records that everybody liked (or pretended not to) in 2000.
T. Rex sounds instantly familiar and innovative at the same time. They've inspired so many artists, from Bowie to Sparks, Oasis to Billy Idol, etc. that you almost feel like you've heard every song before. It's uncanny as you realize they were often a decade or two ahead some of the trends they would set.
Electric Warrior may be heralded as one of the greatest glam rock records of all time, and it certainly is, but it's so much more than that. There's a stripped down and personal feel to the record that transcends the glitz and glitter of rock and roll.
Kudos to Nitty Gritty Dirt Band for ensuring old bluegrass, folk, and country music are remembered. This was obviously a labor of love, with respect paid to the true legends of the craft. Even the conversations before and between songs are worth your time. I can't recommend this record highly enough! It's the very definition of essential.
Absolutely amazing collection of some of the greatest performances of any music ever. Be warned - This is NOT a traditional album. It's a huge 6 disc box set, so prepare accordingly 😂
I much prefer the earlier sophistipop of the band, but ultimately their strongest asset is Tracey Thorn's voice. She delivers, as usual, and the album is good despite the 90s drum and bass elements that so many UK artists adopted.
Hits like a guerrilla radio signal of the best party you've never been invited to.
Immensely enjoyable. A record I would have never heard outside this project.
One of the all time great American records. Infinitely listenable.
The first truly great album by solo Michael. It's also the first in an uncanny run of records that would secure him the nickname of "The King of Pop."
There are some great raw and bluesy rock songs here but it overstays its welcome with too many filler tracks.
Five Leaves Left carries a weight and maturity that belies Drake's age at the time of recording. This is both magical and heartbreaking. Depression ages your soul, and unfortunately this is a beautifully sad record written from experience.
I'm on a streak of some truly life changing albums. No review required here.
So many classics that it could be a greatest hits collection. They're not all winners, but it's still a must own.
Infected is a scathing indictment of modern England. It's one of the most intelligent albums to come out of the 80s and it shares very little in common with the pop stylings of the time period. Matt Johnson's conversational style may not be for everyone, but I think it adds weight and character that sets it all apart.
There are some truly iconic songs on hand here, and there's no question that Aretha is one of the all-time great voices. Even the songs here that are "just fine" in comparison to Chain of Fools or You Make Me Feel Like a Natural Woman are elevated because of her voice.
Though it falters a bit on Side-B, Sea Change is an absolute masterpiece of a record. The folksy psychedelia is a perfect balance to what has to be one of the best modern breakup albums. I could listen to it infinitely and never grow tired of the subtle beauty found in between the sadness.
Are We Not Men? has to be one of the most confident debuts of the new wave era. Devo had a message, a plan to execute it, and unleashed it on an unprepared music industry. I love this album and I wish that the flip side of it was as good as Side-A, but it's still a sadly prophetic album about the direction they saw humanity headed.
Went into this album completely clueless of what to expect and ended up thoroughly enjoying the experience. I'll be tracking this down on vinyl.
A pop culture phenomenon? Yes. A good album? Unfortunately not. Britney has always been curated style over substance and that's a path that began right here.
Hunky Dory is the first fully realized Bowie record. It's a brilliant collection that can be listened to without skips (though not every song is a stone cold classic like Changes or Life on Mars), and sees the confidence building required for his transition into Ziggy Stardust.
If anyone ever asks you what the 90s were like, toss them a copy of Goo. It encapsulates everything about the experimental, wild west feel of never knowing what you were going to hear next on the radio during that time period. Sonic Youth delivered a record that manages to be conversational, confrontational, discordant, and strangely beautiful all at the same time. Ultimately, Goo is a cornerstone album of the decade.
Dig Me Out is a consistently good album with next to zero filler. However, it also suffers from a feeling of sameness due to a lack of any real differentiation from track to track. The fierce indie rock presence is there, and I love the discordant guitar approach, but it all sort of falls to the wayside thanks to one seemingly nonstop wall of Tucker and Brownstein trading shouts and screams 🤷♂️. I want to like it more than I actually do.
Dre's production on The Chronic is absolutely flawless, elevating every track to the best it possibly can be. Beyond that it put Snoop on the map, hip hop firmly into the zeitgeist (and the Billboard charts), and is well known for its stone cold Eazy-E dis tracks. The skits are the only real weak point. Some hit, some don't. It's still a top 10 rap album ever.
If anyone has a voice to elevate the music of The Weather Channel into a marketable album, Anita Baker is certainly that person. These songs performed by someone else would be an album offered by a local R&B/gospel singer that plays the church circuit.
The production is crisp, the vocals are perfect, but the music severely dates Rapture, preventing it from the "timeless" moniker Baker's voice deserves. I do remember it being played by my Mom on the record player as a kid, so it still gets nostalgia points.
When I was younger I never gave the Violent Femmes a second glance. I thought their music was hokey and silly while absorbing Motley Crue, Metallica, and Slayer. Anthrax was about as silly as my tastes ran. Listening as an adult has been a totally different experience. I now know that I was totally missing the point. Turns out that what I thought was hokey and dumb was a killer punk music band thumbing its nose at what they thought of pop culture. Youth truly is wasted on the young sometimes 😂🤷♂️ Plus, it's hard to believe this came out in 1983. It could easily be 1993 or 2003 and still sound contemporary.
I'm not even sure where to start on this one, but I'm going to begin with the cover. You'd be fair in expecting a Sublime-esque experience but you're actually going to get something closer to Pedro the Lion. Though there are flashes of Mexican infused indie-folk, it's heartbeat is more akin to something readers of Pitchfork fawn over..indie for the sake of being indie. Add in quite a few musical interludes that don't really fit and Feast of Wire becomes a somewhat strange bird. You're already off balance and Calexico do little to help ground you. There are hints of greatness here but the effect they have is to shine a light on how frustrating the album is when consumed as a whole.
Mellon Collie is a lot to take in...it's larger than life, extravagantly adorned, sometimes silly, oftentimes masterful, but always consistently Smashing Pumpkins. Is there fat that could be trimmed? Absolutely, but that's where the unique parts of the record live. Is it as sleek as Siamese Dream? I don't think it is. It still doesn't stop it from being the quintessential Pumpkins record, because it has it all. It's got the hooks, it's got the heart, and an almost childlike sense of adventure that elevate it (warts and all).
Hookworms caught me completely off guard and delivered an undiscovered treasure in my 1001 journey. Side-A is near perfection, leaving Side-B worse off by default, but there's a pretty significant drop off...It almost doesn't matter though. The overall experience is pretty mind blowing.
Out of the ashes of what can only be described as a rough time, Dylan rises from a decade and a half of trying to find his footing. With a slinky, almost Lizard King-esque confidence, Time Out of Mind serves up a river delta blues treat of a record. Dylan sounds craggy and wiser than ever, with a soundstage provided by the sparse production giving his voice plenty of room to fill. There's a handful of tracks I could've done without, but Time Out of Mind is proof you should never count Dylan out for the count.
Confident with a bluesy swagger is how I'd describe Are You Experienced. Jimi knew what he was about and it's written across this record from start to finish, but therein lies the hidden problem. There are far too many tracks, with at least 5 that could've, and probably should've, been cut. Aside from the untrimmed fat, Hendrix and Co. delivered the goods. Fans of blues guitar can add a full point to my score.
We've arrived at my favorite Bowie era, The Thin White Duke! Station to Station is near perfection, somehow seeming expansive and grand while also being concise and exactly the right runtime. It's one of my all time favorite records...top 20 even.
I remember this album coming out and giving a kind of 🤷♂️ response, so it was fun to revisit. Unfortunately, my feelings on the debut from Klaxons haven't much changed. There's nothing fundamentally wrong with the songs, but it's all over the place stylistically. Worse, the core post-punk garage band sound was not unique in 2007 and I can name off half a dozen bands better at it than Klaxons. If it wasn't such a cluttered and over-produced album, I might have liked it more, but unfortunately Klaxons fell victim to the loudness wars.
I really wanted this album to score higher but two things held it back. 1.) The overall production is poor, leading to crackles and garbled, maxed out distortion on the high end. 2.) The first half of The Genius of Ray Charles consists of big band songs with accompanying brass. I'm not against big band, but you're here for Ray Charles and he's lost in the loudness (see previous complaint). You can't even hear his piano during this segment. Thankfully this is rectified in a lower-key second half that allows the real genius to shine.
Madman Across The Water is the work of an artist on the cusp of greatness. It's obvious that the talent is there, evidenced by the inclusion of one of the greatest songs of all time, Tiny Dancer. Unfortunately the album can't be sustained by Tiny Dancer, Levon, and a handful of other good, but not great songs. You've also got songs like Indian Sunset, with lyrics so bad that you're embarrassed to hear them. Long story short, Elton touches the sun and then Madman Across The Water spirals before just making the landing.
Ray Price has an amazing crooner's voice and that helps lift Night Life up, but it's just not enough to save it from a boring tracklist. There are a few highlights, especially the title track, but most of these songs are slow jams to get couples on the honkytonk dance floor. It's fine at first but the slow tempo tends to make Night Life a sleepy chore to get through. I love a good honkytonk record but you need to balance the slow dancers with some rabble-rousers to make it work.
First Finale has all the 70s Stevie Wonder trappings you could possibly be looking for. Unfortunately, he pushes his voice in strange directions a lot in this album, leading to affectations that I found to be off-putting 🤷♂️. I also don't feel like this album pushes the envelope as much as its successor will. However, it does lean heavily into the sounds of the 70s, becoming a pretty amazing time capsule.
I've been a Sade fan since I first heard Smooth Operator on the radio as a kid. Between the velvety vocals and slinky saxophone, this is top shelf sophistipop. Hard to believe that Diamond Life is a debut because it's so confident from beginning to end. There's not really a stinker in the bunch but nothing comes close to the brilliance of the album opener.
Like a Prayer was released in 1989 and obviously has feelers out for what could be the next big sound in the 90s. As such, it feels a bit disjointed and lacks cohesion. It also leads to peaks and valleys when those feelers land, and more frequently, don't. Prince's involvement is heard and felt but not really necessary.
There's no arguing about Winehouse"s talent, with both her voice and with her pen. Of course, all this is overshadowed by her reputation of being a violent alcoholic, tumultuous and often public relationship blowups, and famous recreational drug use. Thankfully Amy left us with Back to Black as her final musical statement before her lifestyle had the chance to affect the quality of her output. It's a powerful nod to Motown, with Winehouse showcasing a voice that rivals the best of that era. You're probably noticing my statements don't match up with the score, and this is why production and mastering are so important. Back to Black is one of the most notorious victims of the "loudness wars" of the 00s. There's audible clipping and most of the music is muddled due to poor mastering with max volume in mind, not fidelity.
I struggled with Lady in Satin for one big reason. Musically it's a beautiful record, providing a rich and immersive soundscape. Unfortunately, I do not care for Billie Holiday's voice on thisrecording. It's haggard, craggy, and absolutely worn down from years and years of alcohol and heroin abuse. It would ultimately be her last album before she died at age 44, which is probably the reason for inclusion. I know it's a matter of taste, but I'd rather hear anyone else from 1958 sing these songs.
There are few lyricists better than Nas, and he established that on his arrival with Illmatic. The production is tight and crystal clear, complimenting the street poetry on offer. Illmatic falls short in the beat department, but that's honestly something Nas has struggled with his whole career 🤷♂️. It's considered one of the greatest rap albums of all time, and that's 100% on the talent of Nas and his pen, though some of the samples are perfectly used.
This one can be summed up two ways. Songs for Swingin' Lovers is obviously compiled with romance in mind. If you're looking for something a little slinky and a little spicy, Sinatra has your back. In that scenario I'd say you could add a full point to the score. For anyone else, there are better Frank Sinatra collections out there. All that said, I could listen to him sing from the dictionary and still enjoy it.
At first glance Cupid & Psyche is a moderately successful pop album, but if you look deeper there's so much more to it. Scritti Politti's blend of intelligent wordplay, saccharine sweet pop hooks, and blue-eyed soul elevate this record to the top shelf. As if that wasn't enough to convince you, the band brought in jazz legend Arif Mardin and his production is flawless. Don't be fooled by the conventional trappings, this is anything but throwaway pop trash.
Credited as one of the first live blues albums, Muddy Waters at the Newport Jazz Fest in 1960 changed how people saw the genre. It captured the raw energy that passes from the band to the crowd and inspired countless aspiring musicians to pick up a guitar or a harmonica (sometimes both!). It also stands on its own musical merits as a great collection of songs. The biggest issue with Newport is the recording itself being affected by wind, microphone crackle, static hiss, and other hiccups. Considering it was 1960 I'm willing to give it a pass. If you're a big blues fan you can add a full point to my score.
I bought Yeezus the day it came out without ever having heard a Kanye album before. Why, you ask? Daft Punk. They were part of the production, which piqued my interest, and also explains my seemingly spontaneous purchase. Not only was I floored by the musical creativity of Yeezus (the sampling is 10/10), the raw, sometimes crude, but always sharp delivery of Kanye West proved to be the main attraction. I think it's one of the all-time great rap albums because it pushes the envelope in ways that few big time artists would be willing to risk.
While Ray of Light is a much heralded record, I find it to be a frustratingly good experience. Everything about this album oozes William Orbit, which isn't necessarily a bad thing, but this is a Madonna release. Unfortunately she's just a singing head bouncing along to a finely crafted Orbit soundtrack. At the end of the day this feels like the first time Madonna relied on the talent of someone else instead of pushing the trend herself. Call me picky, but it dilutes the overall quality of her brand 🤷♂️
Lauryn Hill showed how much of a creative force she was in The Fugees, but I don't know that anyone expected her solo debut to be this good! Hill's ability to blend genres like R&B, hip-hop, do-wop, and soul into an album that still sounds fresh decades later seems almost magical. Lacking an editing voice (since Hill mostly self-produced), The Miseducation of Lauryn Hill has several tracks that could have been relegated to b-sides. Though the flipside of the record suffers a bit of slowdown, this is an astounding debut by an artist who knows what she's about.
Live at Leeds captures a confident and scarily proficient Who. The performances are electric, the banter is fun, and the recording is fantastic. The only thing holding it back is a setlist of questionable quality, but these things are subjective 🤷♂️
Pretzel Logic is a good album, but far from great. It reaches its peak on the first track and chases that high to the very end. The Gary Katz production is crystal clear, as usual, but it's not enough to ward off the shrug I feel when I think about whether or not I liked Pretzel Logic. There are definitely better Steely Dan records included in the 1001 (surely), though this is the last they recorded as a full band, and that's worth a historical mention.
Femi Kuti brought the music of West Africa to American shores, a genre his father helped pioneer. This is enough to get yourself into the 1001 on its own, but the music is pretty great (I imagine especially live). Unfortunately Femi Kuti doesn't do it for me behind the microphone and his lyrics missed the mark more often than not.
I was very surprised to get Fela Kuti after reviewing an album by his son Femi yesterday. Thankfully I enjoyed Fela and his pioneering Afrobeat sound more than his son's more contemporary attempts. The recording itself isn't great, but the feelings be shared are. Zombie calls out the corrupt Nigerian government of the mid-70s, hiding the message in upbeat music. While it may sound fun to dance to, this album got Fela's mother killed and his commune burned down. At the end of the day, Zombie is an important record with a strong message, but the songs are too long for my taste and the backing vocals aren't great either.
While Nevermind may not stick out as much by the standards of today, but it's hard to describe how transfixing it was when it came out. Grunge was knocking on the door of the mainstream, and Nirvana kicked it completely down with their sophomore record. The punk infused riffs, dangerously catchy hooks, and Cobain's vocals all combined to make something the public didn't know they needed (myself included). While the album could use some editing and maybe drop the outro and end on Something's in the Way, it's hard to ding it too much. Nevermind inspired countless teens to pick up a guitar and form bands, gave many more a once in a generation folk hero in Kurt Cobain, and gave the middle finger to pop culture norms like a great album should. You don't have to like them, but Nevermind's impact isn't up for discussion.
The Poet is like a warm hug from the late 70s and early 80s, combining elements of R&B, funk, and soul. It makes for a smooth listen, and Womack's voice is more than up to the task. The Poet doesn't take many risks or push any boundaries, but it did help establish Bobby Womack in the new decade (something a lot other artists from the 60s and 70s struggled to do). I imagine that's enough for its inclusion in the 1001.
Musically, The Only Ones were way ahead of their time. Their blend of psychedelia, punk, and power pop sounds like the alt-rock that would define the 90s. Unfortunately it's a messy, drug fueled album that leans on its punk backbone to excuse missed notes, lazy background vocals, and worse, lead vocals that are an acquired taste (that I do not have).
It's hard to believe that Talking Heads released this record in 1977, despite the title. If you told me it came out in 1987, I'd be more inclined to believe it. '77 is well produced, smartly written, and a whole lot of fun. It's not perfect, but Byrne and Co. delivered the goods on this one.
The Stranger is an all killer, no filler American classic. It was Billy Joel's breakthrough album, and with good reason. It's rich with storytelling, brilliantly crafted songs, and an affable everyman behind the microphone. Coming Out has been my very favorite Billy Joel song, and that only adds to the special aura that The Stranger exudes. Highly recommend listening to any and all.
I'm a fan of Teenage Fanclub and power pop as a genre, so you'd think I'd love Bandwagonesque. For me it sounds like a band with promise who haven't yet hit their prime, which isn't far from the truth. Their love of Big Star is present and in the forefront, but they never get close to anything as good as them on this record. I feel like Thirteen (their next album) is more of a complete album, with Grand Prix being a pinnacle, but Bandwagonesque was a big breakthrough for Teenage Fanclub (even earning album of the year from Spin). I think Matthew Sweet's Girlfriend is an infinitely better power pop record from the same year 🤷♂️
I absolutely love the Beastie Boys and I don't think they have a bad record in their discography. In fact, I think Sabotage is one of the top 10 tracks of the entire decade (with a top 5 video from Spike Jonze). All that said, Ill Communication is too bloated to be considered great. It's 20 tracks long and filled with unnecessary Kojak style 70s funk interludes. Cut all that noise and you can add a full point or point and a half to my score.
So has a Dr. Jekyll and Mr. Hyde vibe to it. It offers up some of the greatest songs of the 1980s (and arguably, all time), while shoring them up with weird new age tracks that don't match the sound or flow of the aforementioned songs. What fans at the time didn't know is that Peter Gabriel was soon to leave the pop hooks behind and embrace that new age style full-time, make him more of an acquired taste than a MTV mainstay. Hindsight makes the listen less frustrating than it was in the 80s, but I still can't help but wonder how good So could have been if Gabriel had chosen one stylistic path for the record.
B.B. King and the blues are intrinsically synonymous, to the point that even if you've never heard him before you still know he's a legend of the genre. The recordings used for Live at the Regal are passable stereo versions of original mono masters. So you get King in the forefront, but the drums are in one ear and the other accompanying musicians in the other. The songs themselves are very similar (which is my biggest gripe with the blues) but something magic happens here that negates that complaint, and that's the audience. There's an electrical connection with B.B. King and the crowd, and it's enough to give you goosebumps. He's a legendary blues artist, without a doubt, but he's an icon because of his ability to make the genre click with anyone who heard him wield it like a magician.
Broken English is raw and visceral, pulling absolutely no punches in its delivery of what life's sometimes ambivalent cruelty can do to a person. Faithfull's voice is weathered, worn, and street-wise from over a decade of hard living, and it gives the record a credibility it wouldn't have had otherwise. Though it's wrapped in radio friendly packaging, Broken English is made up of eight songs by a woman who has been run through the wringer and had the gall to live through it. While her male counterparts earned legendary status for their swinging 60s lifestyles (I'm looking at you Mick Jagger and Keith Richards), Marianne Faithfull had to rebuild her career and her life without the same glowing aura of coolness surrounding her mistakes. Is the record perfect? No. But it stands as a testament to her strength against almost insurmountable odds to regain her status as a musical icon. It's also a big middle finger to those who left her in the gutter while they continued their careers unphased.
There are no other albums quite like Kid-A, especially considering it's the follow up to Paranoid Android. Radiohead took an absolutely enormous risk to step away from mainstream success, but it worked!
Not bad, even though it's not something I would gravitate toward naturally.
I had a friend that was into this album on an intense level. I never could get into it despite it fitting most of the things I find enjoyable.
Tusk feels like a Fleetwood Mac fever dream. On the surface it's an overindulgent record that didn't follow up Rumours in any sort of way the fans or studio thought it should. That's what makes it so cool for me. Tusk ends up becoming this sprawling cabinet of curiosties and I think there are treasures to be found during every play.
Something Else by The Kinks is most notable for being home to Waterloo Sunset, a song deemed so perfect there are actual college level classes on its composition. Something Else is important for another reason as well, showing that The Kinks were going to be just fine transitioning out of "the beat" era.
I think it's fair to say you're not listening to Tom Waits for the anesthetics and acoustics. Waits wears his difficult music as a badge of pride, and as well he should. Rain Dogs is made up of living and breathing characters, written in blood, smoke, bourbon, and ash. Somebody had to write the stories of the downtrodden, the tales of dark alleys, and outcasts and Tom Waits has always been their patron saint. That doesn't mean that every song lands or that you're even going to like the record, but it all carries weight. I wish there was more cohesion, but for a collection of songs dragged across concrete, I think they're doing as well can be expected.
I never understood the media infatuation that swirled around The Libertines.They sell middle of the road garage band rock sprinkled with drunken live appearances, even drunker public meltdowns, and somehow became the face of the English rock scene. It wasn't long before the infinitely more talented Arctic Monkeys sent them on their way, but prior to that I don't know why you'd ever choose The Libertines over The Strokes.
Absolutely nasty grooves help the album live up to its name, but some of the tracks overstay their welcome with long runtimes. Otherwise it's all killer, no filler. I could only find this one on YouTube, as a FYI for anyone looking for it.
Wow, two Funkadelic albums in a row! Maggot Brain is a more straightforward funk affair, and though I much prerer an astrofunk style, this is still a high quality production. Once again, my only real issue stems from songs overstaying their welcome (sometimes going well over the 10 minute mark), but the overall vibes here are positive.
The Adverts were contemporaries with The Sex Pistols, The Clash, and The Jam but their legacy lies in unfortunate obscurity. Crossing the Red Sea is a riot from start to finish and will be part of my punk rotation going forward! This one has been a fun discovery.
Albums like Music in Exile are why I started this journey into the 1001. Songhoy Blues brings music and culture from their corner of Mali, legitimately from Timbuktu. Their infusion of Songhai lyrics into desert blues about their war torn region is a unique perspective that you just don't get in the west. I'm not the world's biggest blues fan but I enjoyed this cool window into a different part of the planet.
It may sound rudimentary by today's standards, but Run DMC's self-titled debut quite literally changed the hip-hop game. They brought a hard, street-wise edge to the genre and an aesthetic that was revolutionary to the burgeoning genre. Run DMC will always be one of my favorite hip-hop groups because they brought the complete package.
This is the first time I've been completely nonplussed on why an album was included in the 1001. I can usually discern a cultural importance or see the art in what's been created, but not this time. This funky British house/drum and bass collection is short on creativity and even shorter on enjoyable hooks. Obviously the creator of the 1001 has a love for the genre because there has already been quite a few entries, and I'm only 190 albums in. That's the only way to justify this record (that I will never revisit) being on the list.
In 1988 while Rick Astley and Belinda Carlisle were burning up the charts, Sonic Youth were laying the framework for alternative rock in the 1990s. Daydream Nation is a true window into the future, bringing together dischordant harmonies and crunchy guitar driven noise to the forefront. Once again, Sonic Youth establish their claim as one of the most influential bands of all time.
Moon Safari is an outstanding debut that harnesses everything cool about the 1970s into a concentrated, electro-psychedelic experience. Air fuse slinky, jazzy elevator music, funky guitar riffs, vocoders, and atmospheric synths into a retrofuturistic sound that has become their calling card. The additional vocals provided by Beth Hirsch on a couple of tracks hold Moon Safari back from near perfection, mainly because they just don't fit the aesthetic provided. Otherwise, the production is tight, the tracks play out in a satisfying order, and the songs themselves waste nothing.
Chicago's confident debut is a window into a rock and roll sound that would dominate the next two decades, albeit with a full brass section. There's some filler here that probably translated better into the band's live shows, but Chicago Transit Authority contains some of the bands fan favorites. Kath, Cetera, and (mostly) Lamm share vocals seamlessly. This multi-singer approach is something the band would become famous for until Cetera slowly takes the reins over the next decade, but that's a story for a different review. While a solid listen, the record flags during the second half of listening. Chicago Transit Authority was released as a Double-LP and would gain a full point with some editing that steered it toward a single album.
Though never released in America, The Rise & Fall became the catalyst for worldwide Madness popularity thanks to the smash single, Our House. It was a breakthrough hit on MTV, eventually bringing it to western shores in 1983 via a Madness compilation. Sadly this gem of a record it came from still hasn't seen an official North American release, even all these years later. It's a shame because it definitely shows a creative band that's far more talented than they get credit for. Madness may be known for their influence on the 90s ska scene, but The Rise & Fall is the product of a band so much bigger and better than that pigeonhole.
Being my first time listening to a full Adele record, I've got to say...I'm impressed. 25 is filled with insightful and well penned tracks that carry a maturity that belies her true age when they were written. More than that, unlike many of her contemporaries, Adele has more than radio singles on offer here. There's no filler to be found, though obviously some songs outperform others. She's not my style, but Adele has earned my respect with this dive into 25.
Boy George and The Culture Club are one of the best blue-eyed soul groups of all time, and Colour By Numbers is easily their magnum opus. It may be hard to understand their popularity and influence by today's standards, but Boy George and his androgynous style were all over MTV and the radio (which often overshadowed the actual talent of the band). I could never tire of this record, despite some clunkers on Side-B. Church of the Poison Mind is a top 5 blue-eyed soul song ever (in my humble opinion
I vividly remember hearing I Believe in a Thing Called Love on the radio and immediately going to the record store to buy the CD. I wasn't disappointed then and I'm not disappointed now. From the bombastic opener of Black Shuck to the closer of Makin' Out, Permission to Land is a love letter to the hedonistic rock and roll of the 1970s. It would be easy to roll your eyes due to Just Hawkins and his piercing falsetto vocals, low cut one piece leotard jumpsuits, and the AC/DC riffs, but The Darkness are talented and are committed to the gig. I think that makes it more of an homage to their influences than a shtick. Regardless, it's fun listening filled with soaring vocals, killer hooks, and one of the best rock songs of the 00s packed in for good measure.
Not only is Pornography one of the best examples of goth music in pop culture, I think it's also the best album in The Cure discography. Though it may be steeped in wispy fog and an oppressive atmosphere, the framework for what the band is going to become is right here between the lines if you listen closely. Without Pornography you have no Disintegration, no Wish, and no Songs of a Lost World. Robert Smith knew he couldn't stay there amongst the graves because there's more to his creative writing, which makes the record stand out even more. Overall, Pornography is immersive, darkly beautiful, intricately layered, and well penned. To say I love this record would be a huge understatement.
In an attempt to revitalize her career, Dusty Springfield headed to Memphis. Her destination for the aptly named Dusty in Memphis was American Sound Studio, home of Elvis and the famous Memphis Boys, but more importantly, Aretha Franklin. Though the recording sessions were filled with anxiety due to Springfield's feelings of imposter syndrome when compared to the greats that sat in the booth before her, she recorded one of the all time great soul records all the same. Son of a Preacher Man alone is enough to put Dusty in Memphis on the top shelf, but there's no filler or throwaway tracks to be found here. Surprisingly, the album sold poorly and didn't provide the intended shot in the arm Dusty had hoped for. The once popular Memphis sound was quickly being replaced by folk music and rock and roll as the 60s transitioned into the 70s, leaving the album to flounder on both sides of the pond. The real magic of Dusty in Memphis is in its long legs. Their parents may not have listened to it, but Dusty's greatest work WAS heard by their children and is cited by Amy Winehouse and Adele (who you can hear all over this record) as a major influence in their decision to become artists. Not a bad legacy.
What a great record to get for my 200th review! The Next Day seemingly came out of nowhere, but everyone should've known better than to count out (or worse, forget about) David Bowie. The 00s hadn't been particularly kind or successful, and the 90s saw Bowie experimenting in directions that didn't pan out. Instead of throwing in the towel, he went back to the sound and feel of his Berlin trilogy. What could have sounded like a trite cash in on one of his most successful eras is anything but. On the contrary, we are treated to an older and wiser David Bowie reflecting on where he's been and where he's headed. There's a fair amount of sunshine flowing through The Next Day, but we had no idea it was from the sun setting on the life and career of a living legend. As such, it makes the record a perfect companion piece to its follow-up, Darkstar (but that's a conversation best saved for an inevitable future review).
Crooked Rain, Crooked Rain was a discordant dream come true for the indie rock crowd. Pavement offered a kinder, gentler, and easier to digest alternative rock sound than Sonic Youth, while also standing apart from the grunge that dominated the radio waves. Word of mouth and college radio ensured Pavement found their audience, but the album stands on its own indie merits. Crooked Rain is an alternative classic for a reason, afterall.
If you had to pinpoint an album to say, "That's what 1973 sounded like!" 3+3 by The Isley Brothers would be a contender, for sure. It's funky, it's smooth, and nothing but good vibes for days. The vocals are top notch, excellent work in the studio puts the band right in the room with you, and a confident verve runs through the entire record. While there are no true valleys, the peaks of That Lady & Summer Breeze outpace the rest of 3+3, leaving the overall experience a bit uneven.
Queen Latifah may be a stage name, but All Hail the Queen showed the world (and an overwhelmingly male rap genre) that she had the chops to back it up. With a flow that rivals Dr. Dre and beats that require body movement regardless of your musical tastes, Latifah serves up one of the most confident debuts in rap history. It also set the stage for more female rappers to pick up a mic, which is just as noteworthy. Side A of the record carries it for the most part, and a house/rap mashup misses the mark, but there's no denying that All Hail the Queen is a vital and insanely fun album.
Mercury Prize winning Stories From The City, Stories From The Sea is easily my favorite work I've heard from PJ Harvey. Written about her love of New York City, it's suitably majestic, a little grimy, and often frenetic. The songs are well-crafted, the production is crystal clear, and there's zero reason to skip a single track. There are even Thom Yorke appearances in a few tracks, as if things weren't good enough as is.
TLC may be more famous in recent memory thanks to Michael Keaton quoting their lyrics in The Other Guys, but they used to legitimately be one of the biggest bands on the planet (CrazySexyCool is certified 12x Platinum 😮). A weak flipside and far too many unnecessary interludes hamper the record, but there's no denying TLC's talent and ability to craft hooks that have remained earworms for decades.
Cloud Nine finds The Temptations eschewing their gospel roots for a funkier psychedelic sound inspired by Sly and the Family Stone. This is sound they would adopt for almost the entirety of the upcoming decade of the 1970s, to great critical success. The only thing holding back the record is the uneven and often poor quality of the production. I'd have been less critical with my scoring if I'd listened to it on AM radio or a well worn vinyl, but listening in lossless with high quality headphones made all the technical issues even more glaring.
Tom Tom Club was founded by the Talking Heads husband and wife team of Chris Frantz and Tina Weymouth while on hiatus between albums. Named after the dance hall they frequented in The Bahamas, the self-titled album reflects a continued Talking Heads inspired sound, albeit a little more accessible for pop radio at the time. Though quirky and fun, the album is held up by the tent poles of Wordy Rappinghood and Genius of Love. Without those two songs the record would be an interesting blip in the overarching Talking Heads history
Apple Venus is sometimes quirky, sometimes sweeps you away, and at other times bitingly acerbic. One constant is that regardless of tone, you know without question that these songs were written by Andy Partridge and Colin Moulding. Self produced after leaving behind Virgin records and a restrictive contract + poor management that saw the band quite literally penniless after selling millions of records, Apple Venus represents a freedom that the band hadn't had since the very early beginnings two decades prior. Unfortunately the recording process was filled with the strife that comes along with managing the entire process yourself, so much so that the band became a duo before the album even saw the light of day. All of this is represented in the 50 minutes of play time, for better or worse, with no punches pulled in the process. This level of earnest songwriting was lauded by critics and longtime XTC fans alike, and with good reason. Though not perfect, Apple Venus is a superb late career record that most bands can only hope for.
Sticky Fingers by The Rolling Stones needs little introduction, as it kicks off with Brown Sugar, one of the greatest rock and roll songs ever put to music. It also features a different side of The Stones, who'd hung out with Gram Parsons (then with the Flying Burrito Brothers) while touring in the States before recording Sticky Fingers. Keith Richards instantly found a kindred spirit in the amiable country songsmith, but Jagger was instantly wary and probably a little jealous of his influence because Parsons hadn't released anything successful (and wouldn't become famous for his influence until after his death). Uncomfortable or not, Jagger credited Parsons years later for teaching him how to sing country music, which was (and still is) a tough obstacle for UK based artists. The short crossing of paths also sparked the writing and inclusion of Wild Horses, my all time favorite Stones track. All in all Sticky Fingers is a vital inclusion into any rock collection and showed the band had survived the turmoil surrounding the firing of Brian Jones.
I am not Taylor's target market, but I am well known as a synthpop obsessive. That makes 1989 strangely appealing to me, even though I've never really followed mainstream pop trends. The hooks here are saccharine sweet but undeniable and infectious all the same. There's not a single stinker in the bunch and I have zero shame saying that 1989 is a good album (I would call it great but the second half just can't compete with a juggernaut Side A). Taylor chose her production team well for the transition from pop country into a more conventional pop presence, though I do wish she'd dabbled longer in synthpop. It suits her, but hey, what do I know? I'm writing this from my couch and she's amassed over 128 billion streams on Spotify alone without my advice 🤷♂️😂
