Interesting, but wouldn’t want to listen to it again. It’s a little repetitive and I’m realizing that I just don’t really like reggae. Enjoyed “Rebel Music,” “Lively Up Yourself” and “Talkin’ Blues” the most.
Not my favorite Nirvana album, but still has a few classics that never get old for me. Some of the songs really spoke to me as a teenager, but the screaming grates on my nerves now (example: Scentless Apprentice). Guess I’m officially too old to understand.
I thought I wasn’t going to like this. The first half of the album was a little bland and didn’t capture my attention. But the second half of the album was much better than the first, and I loved "You Said Something.”
I’m obsessed. This makes me feel like a happy person in the world. Love the Mellotron. Love the random banging on “Sealand” that sounds like a broken washing machine.
I didn't think I was a jazz person, but I loved this. The pacing is amazing and it really feels like it's telling a story. Track A and Track B were my favorite.
This has a great beat and Fela’s voice is powerful, but I lost interest halfway through most tracks. I enjoyed the tracks Ginger Baker played on, especially “Ye Ye De Smell.” The bonus track with the 16-minute drum battle between Baker and Tony Allen was a rough listen.
This album was at best, mildly pleasant and forgettable, and at worst, cringeworthy. “Not So Sweet Martha Lorraine” and “Section 43” were the highlights for me. I think the entirety of “Porpoise Mouth” was just me pinching the bridge of my nose.
God, this is terrible. Other music from this era (and much earlier) still sounds fresh. This is dated as hell. The lyrics are weak. The best I can say about it is that a lot of the songs are catchy. I had the misfortune of being at a bar with a TouchTunes jukebox the day Michael Jackson died, and I fear I've heard enough of his music to last a lifetime.
I enjoyed this and found myself listening to it multiple times. The songs are tight. Feels as relevant today as it probably did in 1980.
This was a monolith for me. Many of the songs sounded relatively the same and it was difficult to tell where one ended and the next began. It was mildly pleasant at times, but very repetitive. Getting through it was a slog. I did enjoy "Kettodee."
This was such a slog for me. It would have been fine as an instrumental, but the vocalization drove me up a wall. I was counting the minutes until it finished. The last song of the album was my favorite, but that’s not saying much.
Awesome complex rhythms with lots of callbacks and repetition that somehow stays fresh. The English lyrics are spare but very powerful, and the political message made me like this album even more. Loved the hook in "Mr. Follow Follow" and the lyrics in "Zombie," and the recording of "Mistake" live at the 1978 Berlin Jazz Festival sounds great.
Immediately knew I’d be listening to this one again and again. The energy is infectious and I loved the British Invasion influences. Makes me nostalgic for my teenage years. “Sofa (Of My Lethargy)” is probably my favorite track.
This album is clever and enjoyable. The production is clean and sounds great, the guitar riffs are awesome, and the lyric writing is great. "Fiction Romance" is my favorite track, but I also enjoyed "Get On Our Own," "I Need," and "Moving Away from the Pulsebeat."
I've heard of this band but never listened to them, beyond that one song that was in Guitar Hero years ago. Apparently that was a mistake. This just sounds really good to me. I listened to "Regular John" three or four times before I made it to the rest of the album. This album would be typical 90s stoner rock, still enjoyable, but the driving/trance-y "robot rock" aspects make it really interesting.
The raw emotion and vulnerability here is breathtaking. Her guitar work is really interesting. I had to roll my eyes at all the reviews here saying she "can't sing." Perhaps her vocal style is an acquired taste that some may never acquire, but if you actually listen to this album, there are multiple moments when she gets out of the slacker mumble-tone and it's pretty clear that she can sing.
This is beautiful. I’m a fan of Leonard Cohen’s earlier work, but never got around to listening to this album until this project. His voice is weathered, but not unpleasant, and the instrumentals are melodic enough to carry the lyrical poetry of his struggles with God and impending death.
I appreciate the musicianship here. The instrumentation is TIGHT. Unfortunately, I couldn't really get into it. It's fine as background music, but just not my thing. I do appreciate "Watermelon Man.” “Chameleon” was too repetitive for me.
Don’t mind this, and it’s weird that people are so up in arms about the flute. Really? I’ve always liked “Hymn 43,” but never placed it in the larger context of Side 2 of this album. The musings about religion start to get a little tedious after a while. The riffs are great.
Note: One of the top reviews here says that the Spotify album link is correct. As of February 2026, that is not the case. Spotify links to a completely different album that’s also titled “Throwing Muses.” The correct album is on YouTube.
The bleating in the singing was a little grating. I really loved “Hate My Way.” Most of this sounds somehow generic to me (although it probably sounded fresher at the time). It is impressive that Kristin Hersh started the band at just 14 and released this album at 20.
I liked the interludes and thought they were more interesting than the rest of the album, which admittedly isn't saying much. "Where Do We Go" was okay and the driving beat was nice. The rest of this was bland and uninspiring. It was more exciting lyrically than musically, but I feel like she could have pushed more with the lyrics also. Her voice is pretty, but nothing spectacular.
I was disappointed in this album. I liked Carlos Santana’s guitar work on “To Zion,” and I’ve appreciated “Doo Wop (That Thing)” since it came out. I also liked the Motown influences. Unfortunately, this really dragged on for me.
Really liked this and struggled between four and five stars. Great guitar-heavy pop songs with a post-punk flavor. Love the slightly bored vocals and the lyrical themes.
I've always liked "Love the One You're With," and I enjoyed the second track, "Do for the Others." At that point, I thought this album was going to be a pleasant surprise. Unfortunately, it was downhill from there. I can't even pinpoint what's wrong with this. It feels like I *should* like it on paper, if I look at all the elements. But there's just something missing.
I always kind of wrote Shane MacGowan off as a hard partying guy with nothing especially deep to say. I’m disappointed in myself for not listening to more of his music earlier. The fusion of punk with traditional Irish music is ingenious, and the lyrics are incredible. He was truly a poet. RIP.
This is another album where I appreciate the artistry and musicianship, but just can't really get into it and enjoy listening to it. I think I would have enjoyed the performance if I'd actually seen it live. I probably won't listen to this again except as background music while I'm trying to work.
I'm glad I heard it once, but I doubt that I'll be listening again. I was surprised at how dated and flat this sounds compared to other albums that were recorded just a short time later. "Hollis Crew" was my favorite track, possibly because I've heard that one several times before. I liked the beat on "Wake Up," but the lyrics and the snoring in the background are a little cringeworthy.
There was a lot of eye-rolling during this album. I feel like he's yelling at me, but it's somehow still boring and the vocals are incredibly grating. "The Prisoner" was so close to having an actual melody, but didn't quite get there. The guitar riff on "Hallowed Be Thy Name" was cool. I can see how this album would be appealing to teenage boys. It was not for me.
The production on this album is great, but it’s overshadowed by Kanye’s ego. I was rolling my eyes at his perceived slights and crude lyrical attempts before the second track ended. How many times can one person talk about balls and assholes?
I really enjoy Fela Kuti, but this didn’t do it for me. This sounds dated to me in a way that Fela does not. The music is fun and energetic, but both the beats and the lyrics get repetitive.
I appreciate how many musicians this band has influenced and I wanted to like this, but it fell flat for me. The vocals and melodies were too droning and repetitive. I loved the riff and the driving guitars on “Monitor.”
Pretty amazing when the two tracks are close to twenty minutes each and I still didn't want them to end. To the person who said they felt like they were on hold with their insurance company: please share the company name. I'm sure a lot of us would like to switch. My dealings with my insurance company would be so much more pleasant if this were the hold music.
This album really transports me to another place and time. I feel like I’m It’s so minimalistic and beautiful. It gives me chills. Really cool, dimensional sound.
I mean…it was fine, I guess? I liked the idea of combining Western and Indian music and traditional and electronic elements, but the execution wasn’t especially interesting to me. “Sagar (The Ocean)” was rough due to the length and repetition, although it came back around for me at the end.
I've heard the hits, but I really enjoyed the rest of this. It was experimental but I thought it worked well together as an album, and every song was fun to listen to. It's very catchy. I especially liked Jack-Ass and Ramshackle.
It wasn't like I hated this or anything, but I'll probably never listen to it again. It's too lounge-y, and Curtis Mayfield's falsetto is just not appealing to my ear.
I loved this. I'm a sucker for anything influenced by the 60s sound, and this album was lush and cinematic with great production. The lyrics were witty and interesting, and I appreciated the vocal delivery.
This scratches an itch in my brain that I didn’t even know was there. It took me so long to listen to this album because I kept “Earthquake” on repeat. I love the retro feel of many of the tracks through the distortion. Extremely depressed to find that this band seems to be on an indefinite hiatus.
I liked this, but didn’t love it. I’m sure it was an intentional choice, but the vocals often got lost in the mix. There are some really cool basslines on this album.
What a slice of cheese. So many schmaltzy covers, so little time. “Another Song” is my favorite track. It’s like they were so close to doing something almost experimental and couldn’t quite get there (probably because their mother was in the studio micromanaging the show).
This is pretty and has a few tracks I really enjoyed (“Honey,” “Close My Eyes,” “Whenever You Call,” “Outside”). It can get a little repetitive at times. Mariah’s voice is impeccable, but I don’t know if the breathy vocal style she uses a lot on this album is the best showcase for that.
I love this album. The mix of rock, blues, and country is great, and I think “Monkey Man” is one of their most fun songs. There are a few songs that are underwhelming that keep it from being a 5 for me.
He’s very technically proficient at playing the bass. That’s about the only nice thing I can say. The singing is trash. The lyrics are garbage. It’s a mess.
This album is packed full of hits. I’m a Billy Joel fan, but for some reason this particular album isn’t my favorite of his. I’ll always love “Scenes from an Italian Restaurant,” but the last couple songs fall off a bit.
This just wasn’t for me. Maybe I dislike happiness or something, but it was way too cheesy and a lot of the songs sounded too similar. I also hated the spoken word sections on “All About Love (First Impression).”
Surprisingly great riffs and drums. I knew the hits, but for I guess I was expecting something heavier with the knowledge that this is a heavy metal album. No real standouts for me, but it wasn’t unpleasant to listen to.
The Killers brand of “cool” just hasn’t aged well. This album was inescapable in the mid-2000s, but the wardrobe, guyliner, and Flowers’ flat delivery don’t hit as hard today. Still love the Anton Corbijn video for “All These Things That I’ve Done,” though. I thought the second half of this album was better than the first.
Electronic rock music with enough of a post-punk influence to keep it interesting for me. I especially liked "Someone Great," "All My Friends," and "Us V Them."
I had no idea that the crowd noise was added by a producer. Add me to the list of people who were duped and thought this was largely a live album. Great guitar riffs, and I love Janis Joplin's voice.
Powerful yet simple lyrics. I loved the instruments and the post-punk sound. I'm excited that I discovered this album through this project. I suspect that Howard Devoto's voice will be an acquired taste for me. I guess time will tell.
Obviously "Freedom '90" is a banger and the music video is great, but I liked the rest of this album more than I thought I would (which is not at all). There are a few catchy tracks with great melodies, and George Michael's voice sounds good.
Great production. Love the vocals and the synths sound fresh and not dated. These songs are so catchy and get stuck in my head for days. This is what pop music should be.
I was excited about this because I typically like this style of country music. It was fine, I guess? It just sounded like generic country to me.
This is fine. Like maybe I would sing along if I were drunk in the bar and in a good mood, but I wouldn't miss any of these songs if they disappeared from the face of the earth forever.
This is so pleasant and interesting. I'm a fan of Lou Reed's voice, but I liked his idea of having different band members sing on some of the songs in this album. "The Murder Mystery" is incredible.
