1001 Albums Summary

A bit minimalist — I find that I prefer Neil’s later, less folksy albums.

"I though Muddy Waters wrote that song" --Smithers as he's looking over Marge's padded resume. Muddy Waters' influence on the evolution of the blues and rock is undeniable. Many of the ideas presented on Hard Again became standard practice for artists moving forward. I definitely prefer later blues artists who refined the genre, but it's great to listen to this influential predecessor.... but does Mannish Boy really have to keep going for five and a half minutes?? I get it -- that riff is definitive... but sooooo repetitive!

The Reverend Al Green! This was a pleasure to listen to. Green's voice is so versatile.

This is a GREAT album. I love power pop, which leaves me scratching my head on how I missed this in the early 90s. The album mixing seems to be taking a page from the shoegazers of the 80s with a wash of sound and the vocals just barely above the rest of the mix. Something about that style gives me warm fuzzies. There is so much to praise here -- December is absolutely beautiful with the arpeggiated guitars and lush vocal harmonies. The tight vocal harmonies continue in What You Do to Me and I Don't Know. I'm fond of Metal Baby and its use of interesting chords. It looks like Teenage Fanclub has an extensive catalogue -- I definitely plan on listening to more of their music. This is another album I wish I could give 4 1/2 stars. In time it could become a 5 for me.

The alternative station had a number of songs from this album in heavy rotation in the late 80s, especially Blister in the Sun and Kiss Off. Hearing these songs definitely have a nostalgia factor for me, but I had not heard this album in its entirety until now. This album has some great highs, but also horrendous lows. Blister in the Sun and Kiss Off are definitely high points -- nice guitar work and drumming. Please Do Not Go starts promising with an impressive acoustic bass guitar feature, and Gone Daddy Gone has a cool marimba part. In most cases however, the vocals are where things ultimately fall short. At times the singer sounds like a muppet attempting reggae. Some of the lyrics are just bad. The last song Gimme the Car is outright predatory and creepy. I'll probably revisit the first two tracks in the future, but not much else.

She has really impressive piano chops!

As a music teacher I encourage young people to be open minded about different kinds of music and avoid saying disparaging things about music they don't like because it may be something that someone else loves. From this vantage point I feel like I can appreciate many different kinds of music. But man, listening to this was ROUGH. Where to begin... without hyperbole, the lead singer was off key for the majority of the recording. It was as if he was recording vocals completely independent of the rest of the tracks. This added to the cacophony already present in the tracks. What was with the saxophone in the opening song?? Was that squeaking sound what they were actually going for? I've heard more pleasant sounds from fourth graders picking up the instrument for the first time. A few tracks start to approach something listenable... only to be marred by poor singing or something wonky in the production. I wanted to like I Wish I was Your Mother, but at one point the guitar came in sounding like rubber bands around a shoebox. The guitars licks were super repetitive and didn't seem to go anywhere, all the while using the same two effects/sounds that often felt awkwardly out of place. This album makes me rethink all of my ratings this far. I gave After the Gold Rush two stars... but that was miles ahead better than this nonsense, which I can't seem to be able to give less than 1 star. I feel bad as I write this because somewhere, someone obviously loves this enough to include it on their top albums list.

When I think of Sonic Youth I think musical exploration over hooks and melody. This album is definitely in that vein. Well performed and conceptually cool, though not something I would go out of my way to listen to.

Wow -- this is fantastic. Stir it Up is the only song that I've heard before, though every track has a vaguely familiar quality. Exquisitely performed -- bass and drums are in lockstep. Vocals and harmonies are tight, and Marley's guitar has a dry staccato sound that gives that quintessential reggae feel. Apple music has a deluxe version of this album that includes a 'Jamaican' version of each song, which are essentially stripped down and demo-like. The finished versions include more production like organ flourishes, backing vocals and studio effects like reverb, adding depth to the sound. It's fun to hear the evolution in the different versions. Discovering this is exactly why I wanted to do this!

This is really cool. The African percussion is just infectious! One thing I really like is the blurred lines between what music is previously composed vs. what is improvised on the spot. There was one moment in the second track that sounds very improvisatory, yet the guitar and bass are playing the same line. Are the players just that in sync with each other to improvise the same thing? Probably not, but its cool to think about.

This is the first album to come up that was released during my lifetime AND that I was keenly aware of. I became a fan of alternative music in the late 80s, when artists like the Smiths, The Cure, REM and the Replacements dominated the alternative airwaves. Then in 1991 everything changed -- Nevermind was a watershed musical event. This is the first time I listened to the album all the way through in years. It had become so ubiquitous that I listened to it less on my own so that I wouldn't get tired of it (it was the same with Pearl Jam ten) But upon listening, I am taken back by just how good it sounds. Cobains guitar and vocals are as strong as I remember. And though Dave Grohl has spent more time as the front man of the Foo Fighters, I can appreciate just what a fine drummer he is in this recording. I wish I could give this 4 1/2 stars -- though Nevermind isn't quite a top tier album for me, it comes very close.

I've heard it said that this albums a grower. I do find myself taking it out for a spin every once in a while to test that... which I did again last night. If I'm in the mood to hear some Radiohead, In Rainbows, OK Computer or The Bends are my usual go to albums. This listening of Kid A doesn't change that, but....... I did find myself liking it more than I have in the past. Some of the tracks on here are more soundscapes, while others are more cohesive songs. I definitely prefer the latter like in Idioteque or Optimistic. After this listening I'd put Kid A at a 3 1/2 if I could.

I had a hard time getting into this. Mitchell's music here doesn't really have form or structure -- it's almost as if she's reciting poetry over backing tracks... no discernable melody, beat, etc. The musicianship leads to some cool musical moments -- the fretless bass and guitar in the title track got my attention, and the guitar solo in Black Crow was nice. Mitchell's voice is fine, but not particularly memorable for me. I could see how others may appreciate this music, but it's just not for me.

I wasn't aware of Rage Against the Machine until the Evil Empire album when Bulls on Parade was in heavy rotation on the radio. A college friend introduced me to more of their music, though this was my first time listening to the debut album in its entirety. It goes without saying that this is a modern(ish) masterpiece. One thing that struck me is how the messaging seems even more relevant today than in 1992. The other thing that I really appreciate is the convergence of so many different styles of music and influences in this album. I hear distinct influence from protest music of previous decades, 80s metal, hip hop. The guitar opening of Wake Up sounds like a nod to Led Zeppelin's 'Kashmir', and I can't recall which track, but I distinctly heard a 12 bar blues pattern much like the Muddy Waters album earlier this week. Outstanding album.

Stevie Wonder turned 22 the year this album was released. And it was his fifteenth album. Just let that sink in for a moment! I love the sound of the Fender Rhodes keyboard on the opening track, Lookin for Another Pure Love and elsewhere... also the clavinet like in Superstition, and some Moog synths in You and I. They're such distinctively 70s sounds, but I love them. Whereas the Joni Mitchell album the other day was lacking in melody and structure... this album is like the antithesis -- burgeoning with memorable hooks, Wonder a masterful tunesmith. Though there are a few rather saccharine moments, listening to this was a pleasure.

I got a CD player for Christmas 1990. And this was one of the very first CDs I bought. It was at Tom Tom's CD exchange in Sandy Utah from the used section. I picked it up because I had heard Orange Crush which had been getting regular airplay on the alternative station. This was when alternative music was still just that -- off the beaten path of the mainstream. It was like me and only a few others knew about this great music. Then a year later Nirvana changed that, along with REM and their hit 'Losing My Religion'. When I got this home and listened to it, I was immediately drawn in by the two bangers that open the album -- Pop Song and Get Up. I recognized Stand from the radio, but had no idea it was the same band that did Orange Crush. And I think this is one of the enduring things about REM for me -- they are very versatile, doing a protest song like Orange Crush but also have fun and levity with Stand (though if you think about it, Stand is a bit of a covert protest song) and also be introspective with songs like World Leader Pretend (which may be the crown jewel of this album) and I remember California. And also breezy chill tunes like You are the Everything and the last Untitled track (which is a hidden track on the original CD) The mandolin in a few of the tracks foreshadow its use in Losing my Religion and other tracks on the next album. I learned later that this was REMs debut on a major label. Fans at the time accused them of selling out, but as I got to know their back catalogue, I feel like this album was a step forward for the band, but at the same time not terribly different from their previous work, which I think is a tribute to their strong songwriting and production. Green is close to a five star for me... the only thing that holds it back is that there are other REM albums that I think are even stronger, which may be coming up.

Despite liking Radiohead, this album slipped by me completely. In 2003 I was a first year teacher, newly married and had other things on my mind. File sharing websites were on their way out, and streaming music was still a few years off, making hearing it a challenge. In subsequent years the band has expressed disappointment that this album felt unfinished and bloated with too many songs. Album rankings by fans often place this near the bottom just above the lackluster debut. With all this said, I’m surprised to see this as a part of the albums list. I listened with an open mind twice through and ultimately agreed with the bands own sentiment. We Suck Young Blood could have easily been left on the cutting room floor. Other tracks felt a bit aimless. There are some outstanding tracks here. 2+2=5 was the one I was familiar with. Sail to the Moon is absolutely gorgeous and There There easily stands among Radioheads best songs. This album seems to be a band in transition from the highly experimental Kid A and Amnesiac to firing on all cylinders a few years later with the fantastic In Rainbows album.

I've heard a smattering of songs from Iggy Pop and the Stooges that I like, but none of them are on this album. I'm sure that this album was an important influence on Punk in the 70s, but this didn't do much for me at all. I Wanna Be Your Dog is starred in Apple Music, but it definitely wasn't the top track for me. I'm not sure I could even pick a top track... it would be more like less tiresome than others. We Will Fall felt like it was an hour long.

As a high school senior, I remember seeing an underclassmen girl with the lyrics to Closer written on her backpack in pink puffy paint. It was official -- alternative music was now the mainstream. This was my first time listening to this album. I almost didn't make it through the first song. But I persevered. After all, this is a critically acclaimed album beloved by millions... right? After finishing, I openly admit I don't get it. Is there something there mixed in with all the white noise and screaming that I just don't understand? I'm certainly open to that possibility. I could hear some interesting things in some of the chords used in some places -- Trent Reznor clearly understands the nuts and bolts of music. But I just couldn't find anything on here that sticks with me -- A Warm Place... yeah that was kinda cool... how does it go again? I understand that this is supposed to be a concept album of an individual's downward spiral toward suicide. But I just found the lyrics dark and REALLY repetitive. If this album did anything to help change attitudes toward depression and mental health, then I applaud it. But musically I just couldn't find anything here. I'm going to go listen to some Radiohead.

Coming into this, the only Kinks songs I was aware of were You Really Got Me and All Day and All of the Night which pioneered the use of distortion guitar. I was expecting to hear something along those lines. But as the album title says, this was something completely different. I was pleasantly surprised to hear a wide variety of styles. David Watts opens with a cool syncopated piano lick. Death of a Clown has a honky- tonk feel to it complete with de-tuned piano. Two sisters is in the vein of the baroque pop that artists were experimenting with in the late 60s. No Return is a pleasant breezy bossa nova track followed by Harry Rag with drums in martial cadence over what sounds like an old English drinking song. 60s psychedelia finds its way into multiple tracks. I am really impressed with this diversity of styles so well done. The album ends with its strongest song Waterloo Sunset which has the band firing on all cylinders. I can imagine the group spending days / weeks in the studio getting this just right. I ended up listening to this outstanding album three times through.

When I think of the Psychedelic Furs, I put them in a similar category with other post punk rock groups of the early 80s like The Cure, New Order or The Smiths. I dated a girl in high school who was a big Furs fan and listening to this definitely brought me back to another time. That said, I don't know this album particularly well other than the song Pretty in Pink. It's their next album Forever Now and later releases that are more my speed. Listening to this felt like listening to a less polished version of the material I know. And I found a lot of sameness across many of the tracks. It occurred to me that the tempo of the songs didn't really change, so I pulled out a metronome and tested it. And as I suspected seven of the songs on the album clocked in at about 130 beats per minute, the other three at around 150. I also found the texture to be very similar across the album without a ton of variation. So when All of This and Nothing started with acoustic 12 string guitar, it was a very welcome change. Mr. Jones going into the next song Into You Like a Train sounds almost like two halves of the same song with the same tempo and same driving bass line. Additionally Richard Butler's voice doesn't sound great on this album -- he's doing this talking-singing hybrid that you don't really hear on later albums, which makes me wonder if he did that on purpose, or if he was sick during the sessions. I'm leaning toward the latter because Apple music includes the single version of Mr. Jones which sounds completely different -- the balance of the mix is much cleaner and his voice sounds markedly better. I like Pretty in Pink, and I feel like other songs could be growers for me, but I prefer the Furs later releases.

While I've never been a fan of country music, my dad is. I have memories of being a small kid sitting in the back seat of the car and hearing music like this. Willie Nelson has a great voice and there is some fine guitar playing on here. And though I am not likely to return to this album, there were some really nice moments.

Did anyone else recognize Teach Your Children from Bring Your Daughter to Work Day on The Office? I had only heard that song and Our House before. The rest are solid -- great tight vocal harmonies, good guitar playing. I think my favorite is the title track which sounds a little more like prog rock than the rest of the album.

Never heard of this album or band before today. And after hearing this I'm surprised -- this is superb. The sound reminds me of Flaming Lips, though I found this album far more accessible and tuneful than Flaming Lips. There were so many times while listening to this that I found myself pausing and thinking, wow that was really cool. These are just a few: Enola / Alone uses some really interesting extended chords making for intricate harmonies and dissonances that are really satisfying Everything Must Go -- I can see why this is the title track -- it really serves as a cornerstone that themes the entire album. Strings are featured here giving the track a sound like an updated take on Phil Spector's wall of sound. I'm not sure what they did to the drums in this song, but they have a really unique powerful sound that I found infectious. Small Black Flowers That Grow in the Sky -- melancholy but beautiful down tempo song featuring acoustic guitar and harp? This is the kind of song that transports you to another place. The Girl Who Wanted to Be God -- starts unassumingly with rhythm guitar and hi hat, followed by another rhythm guitar, lead guitar and bass as the snare kicks in... leading into another wall of sound... all of this buildup in the first 30 seconds. There is so much music to explore on this album and thoughtful lyrics. I'm confident that future subsequent listening will yield even more appreciation.

It's highly unlikely that I would have the opportunity to listen to this in any other context... but I'm glad that now I have. When I think of Brazilian music, samba and bossa nova come to mind... and though I can hear shades of those styles here, this is definitely its own thing. Very enjoyable -- just wish I understood more Portuguese. :-P

Growing up in the 80s, I vividly remember the satanism panic that had swept much of the country. There was an abandoned house in our neighborhood that all of us kids were convinced was being used by devil worshippers for their crazy rituals. Thanks goodness the country got through that weird phase (at least most of us) I say this because even though my family wasn't super zealous about things like this, an album like 'The Number of the Beast" would have been pretty taboo back then. Though I'd heard of Iron Maiden, before today I never heard Iron Maiden. And all in all, I really liked this. I expected to hear heavy songs all in minor keys... and I got pretty much that, though this didn't sound as dated as 80s metal can often be. My favorite track is definitely the final Hallowed be Thy name. Epic in scope, it seems to be about a prisoner grappling with his fate as he faces execution. This wouldn't be something I'd listen to regularly, but when I'm in the mood for something heavier, this will do quite nicely.

Thriller is pop perfection. It finds Michael Jackson at his peak teaming up with legendary producer Quincey Jones after their success with Off the Wall. Thriller struck the MTV iron when it was hot and solidified its iconic status with some of the greatest music videos ever made. It's hard to choose a standout track because of how strong this album is. Wanna Be Starting Something kicks things off in a similar vein to Off the Wall's Don't Stop til you Get Enough, but it sounds updated with sleek production and infectious African chant. If there was an Anthem for 1983, it may well be Billie Jean, and Eddie Van Halen's solo in Beat It elevates it to another level. Human Nature is smooth as silk. It pains me to say that perhaps the weak spot on the album is the collaboration with Sir Paul McCartney. Their previous single Say Say Say is one of my all time favorites, while The Girl is Mine comes off kinda schlocky. This was definitely a fun one to revisit, and I'm sure will get many more listens in the future.

One balance that artists try to manage is innovation vs aesthetic. Innovation keeps music from getting stale while exploring new ideas. All of this while creating something that people want to hear. Some artists will cast off innovation in favor of something predictable but sounds good. While others will innovate without any regard for anyone actually listening to it. I feel like this album falls squarely in that second camp. Minimalism is a movement that was gaining speed in the 80s in which composers use repetitive patterns that repeat so much that the music either becomes entrancing, or sounds anxious. The first track seems to be using this minimalist technique. And while its kinda cool and innovative to use this in pop music, it definitely not something that I want to listen to. In other places sound collages are used which again is innovative, but not particularly fun to listen to. I think the most accessible instance of this is Les Enfants which had at least some form and structure. But another big drawback for Young Gods is that vocalist -- I don't think I can even call him a singer. He's using this gravelly vocalization that doesn't have any sense of pitch. With the way he's using his voice I have to imagine that he is in a state of perpetual laryngitis. Maybe this is innovation? But it's definitely not pleasant to listen to. I can't say much about the lyrics being in French, and frankly I don't care enough to look up any of what he's saying. I can't imagine ever listening to this again.

This album is 100% new to me. It feels like an early jam band. The starred song Not So Sweet Martha Lorraine was okay, but I really like the straight up blues tunes like Death Sound and Love. The jangly guitars in Sad and Lonely Times were pretty cool too. The melodies aren't particularly memorable, but definitely a cool vibe.

Agreed-- appreciating country music is an uphill battle for me as well. This album is fine -- it's well performed. It's clear Parton was going for an upbeat cheerful vibe, and she accomplishes that. I do have a hard time listening to her voice as well -- she has this fast artificial sounding vibrato that is hard to get past. Given that Parton is a great philanthropist and champion of marginalized people, I really wanted to like this more than I did.

First time ever listening to this. First song seemed like stock 90s sound. I recognize a couple songs, but what I really enjoyed were some of the non single tracks. Nowhere Fast, Consequence and When it Comes are a great run of tunes. Definitely liked this better than I thought I would after the first song.

The first time I heard Lenny Kravitz was when he was on Saturday Night Live promoting his Are You Gonna Go My Way album. Beyond this or hearing his hits on the radio, I have not really heard a lot of Kravitz's music. Fear, Be, and the title tracks are the stand-outs for me. A number of the other songs got REALLY repetitive... I'm looking at you I Build This Garden for You... and others. This over repetition is what keeps this from being a great album for me.

Bob Dylan is a mixed bag for me. I find that I tend to like his songs when they're covered by other artists. His voice is tough for me to get past... particularly when he seems to be doing a monotone chant. This is especially evident on It's Alright, Ma (I'm Only Bleeding). The kicker is that Dylan can sing -- Love Minus Zero / No Limit and Mr. Tambourine Man both demonstrate this... why does he revert to that awful monotone sound? The two aforementioned tracks are standouts for me, and I like the energy and beat of Subterranean Homesick Blues with its accompanying card flipping video. And as I kind of expected, I prefer the Byrd's cover of Tambourine Man, and I discovered a great cover of Maggie's Farm by Rage Against the Machine.

Ladies and gentlemen, the Beatles! My older brother is a Beatles fan, so I can't remember a time in my life that I didn't know of them or their music. Over the years I have heard naysayers who dismiss the Beatles as being overrated. Though I am a fan, having pursued music in my career, I feel that I can objectively say that the Beatles are the real deal. Lucky breaks and coincidences may have contributed to their meteoric success, but underneath that they are some of the finest songwriters in recent history. You can hear innovations in their earliest recordings that set the stage for them to transform pop music into a critically and artistically respected medium. Though their later albums would achieve greater heights, this was their finest album at release. Whereas their first two albums included R&B covers, this album is solely Lennon/McCartney originals. This is a no-skip album for me with too many highlights to name them all. Here are a few: A Hard Day's Night -- from the opening Fadd9 chord to the jangly outro this rocker sets the stage for an incredible experience. I Should Have Known Better -- features a unique chord progression that supports a well crafted melody. Great guitar solo from George If I Fell -- gorgeous vocal harmonies from John and Paul -- I learned to sing harmony from this song I'm Happy -- this George vocal features one of my favorite rhythm guitar parts on the album Tell Me Why -- often overlooked because of bigger hits on the album, I feel like this would have been a standout hit on an album from any other artist -- great harmonies and effective use of falsetto Plus many others...

Ok, I've been geeking out on this album since yesterday morning. I was not familiar with this album before, and I'm scratching my head on why. I'm a fan of classic jazz, and a few things struck me right away about this album. First, most jazz is performed in bands or small combos. This however is solo piano -- no drums, no bass, just piano. Second, most jazz is based on a tune. An artist will take a tune like Autumn Leaves for example... play that tune and then improvise based on that tune and the chord changes. But Jarrett doesn't do that here -- EVERYTHING is improvised... therefore the abstract titles like Part 1. And lastly, this level of improvisation is being done in front of a live audience. I think the only way Jarrett could have been more vulnerable in performance is if he was naked while playing. After listening I dove into the story behind the performance, and from what I read this performance never should have been successful. Apparently Jarrett had been up all night hitchhiking from his previous performance in Switzerland, he had food poisoning earlier in the evening, and the wrong piano was delivered to the venue... one that was broken and had serious limitations (you can hear him using a broken pedal in places to produce a percussive sound) These limitations informed his performance ultimately determining which keys he would use and the tonal centers of the music. The performance didn't start until 11:30 at night because an opera had been performed at the venue earlier that evening. It sounds like they were ready to cancel the concert except that it had sold out and a crew had shown up ready to record. This album is so unique -- like a perfect alignment that was captured for posterity. It is no wonder that it is highly acclaimed.

This is my first time hearing this group and their music. I'm guessing they're the US response to the British Invasion? The album cover explicitly says that this includes the song Kicks... which made me figure that I had probably heard it before. But that was not the case. But I'm guessing from the context that the song is not about shoes. There is definite influence from the Beatles and the Stones, but it feels like they're going out of their way to be safe and non controversial -- It feels like they were going for mass appeal. This album is fun, but I don't know that it will be particularly memorable moving forward.

I had a discussion recently with a friend about perfect songs. One title I offered was America by Simon and Garfunkel. That song isn't on this album, but I say that to show how highly I regard Paul Simon as a songwriter. I've heard many say that Bridge Over Troubled Water is both Simon and Garfunkel's greatest song AND greatest album. But my hot take is that though these are great, their previous album Bookends is the best. And though the title track here is good, I just don't love it. I can't put my finger on it -- maybe it's that Artie's voice just isn't powerful enough for such a big song... but I definitely prefer other Simon and Garfunkel songs over it. I put The Boxer at the top. Songs that showcase their vocal harmonies like this song really soar. I love the bass harmonica... and that line "a man hears what he wants to hear and disregards the rest" is such a great lyric! Keep the Customer Satisfied is a rollicking tune and I think the only one in Simon and Garfunkel's catalog to feature brass instruments. El Condor Pasa seems to foreshadow Simon's interest in world music that would show up in later solo albums... along with the Boss Nova feel of So Long, Frank Lloyd Wright -- both great songs. And I had a friend in high school who loved Baby Driver -- it's such a fun song that always makes me think of her. This album is almost a five for me -- if I liked the title track better, it probably would be.

Not having lived in the 60's, I recognize that my perception of Frank Zappa is through a lens of someone who cannot appreciate him in his time. Honestly I know more about him than his actual music. And while I can appreciate his disdain for the music industry and conventions, when he takes cheap shots at artists themselves or their talent, that always came across really douchey to me. I did my best to listen to this with an open mind. I liked Go Cry on Someone Elses' Shoulder. It's a far cry from your usual break up song and probably more realistic. But for every 'that's cool' moment I had, there were four times as many wtf moments. What is their obsession with the kazoo?? And again, maybe because I wasn't there in the 60s, perhaps there are nuances and details that are lost on me. But when all is said and done, this just wasn't enjoyable for me to listen to.