1001 Albums Summary

All very safe and...pleasant. Lots of....pleasant harmonies. The orchestral reprise of Wasted Time was very....pleasant. Apart from the title track, nothing really grabbed hold. My father is a big fan of the Eagles...I am not.

Pompous, effects-pedal-heavy nonsense, punctuated by random bits of opera, salsa, and spaghetti western, among (many) others. Most of album tempo at 6.2km/h, coincidentally my treadmill walking speed, so that helped me plow through it.

A voice to get lost in. Piano arrangements resonate in both senses of the word. Four Women is a highlight.

Memememe. Long and exhausting.

Not a fan of Jagger's vocal stylings, and the white boy blues doesn't do it for me, but there are 3 or 4 classics on this which elevates it above mediocrity. Sister Morphine and You Gotta Move are highlights

Nothing very memorable here other than the big singles. Felt like it hasn't aged well, as I was listening - a very 80s album.

Prog-pop, fairly interesting. Some nice piano and saxophone interludes.

Some of the juxtaposition of traditional instrumentation doesn't land well. Last song is just cringe.

I can't think what mood or environment I would need to be in to want to listen to this again, but I'm glad I did.

Bonkers, like it.

The best 1, 2, 3 start to an album.

Dylan goes electric. Lively. Not as unbearable as his acoustic mumblings

Fell asleep. Some manic drum fills woke me up.

A bit "nicer" than some of the other early 70s albums, i.e. duller.

Surprisingly interesting, if a little long, would listen again.

Never appreciated the obvious line connecting this and early Iron Maiden/Motorhead. No bad.

Herky- jerky, shouty, femi-pop. S'awright.

Cannae see past that weird vocal performance

Surprised how much I enjoyed this, much more complex than I expected.

This has got a bit of everything, reflecting, I guess, the disparate personalities of the four protagonists at the time. Didn't know Our House was a Graham Nash song....I know nothing about music!

Some nice understated pedal steel and wonky-tonk piano. I can appreciate the looseness, but a bit too rough and raggedy to fully engage.

Sounded a bit generic to be honest, particularly the big band stuff, which tended to swamp Ray I thought. The ballads on side B give more room for his voice/keys but were a bit dull.

Not as interesting as the Beatles' White Album, but a valiant effort. More harpsichord, which is nice.

Game of two halves. Side one is mostly forgettable, side two is full of hooky singles.

Chugga chugga growl wiggly wiggly chugga chugga growl...repeat ad nauseum

Very dirty. I liked it more than I wanted to.

Enjoyed the blend of traditional countrified acoustic guitars with synths and spacey effects. Strong 3.5

Probably a 2.5 - 2 or 3 stonkers, plus Freebird, but a few bluesy run-of-the-mill snoozers too.

"Groundbreaking masterpiece" they said. Maybe the intervening decades have diluted that fact, but it sounds like myriad others of its ilk to my, admittedly untrained ears. I was reminded of James Franco's fabulously ridiculous character in Spring Break - "look at all ma sheeeit" - as I so depressingly often am when listening to this shite. And why are the albums always so damn long - say what you need to in 40 minutes and f-off.

Did nobody in America work until Brucie left school

Phasers set to yawn. I preferred their early, funny ones.

More Dylan-falling-off-a-cliff vocals than you can shake a stick at.

More drunken white-boy-blues ramblings bookended by two bona fide classics.

I wish there was an instrumental version of this. Would make a great soundtrack album to a lost 70s NYC cops & robbers movie. Loses a star for the straight Stevie Wonder vocal theft.