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.

Before hearing this I was only familiar with UB40's big hits in the late 80s. I had no idea the band name was from a UK unemployment form. There's got to be a band out there named for the US 1040 tax form right? All in all this was an enjoyable listen -- socially conscious songs speaking truth to power all to a reggae beat. Musically very tight, there are some nice saxophone flourishes and just enough synth to give it that 80s flare. There are some nice instrumental tracks that really showcase this nicely. The only downside for me would be how much sameness seems to be across the album. Despite enjoying it, I wouldn't be able to easily discern which song is which.

I remember the first time seeing the Enter Sandman video on MTV the summer between 8th and 9th grade. Then it seemed like for the next few months Metallica was releasing hit after hit... and I found myself in the music store buying my first metal album. For me the first two thirds of this album are superb... and the last third gets mired in meh... Wherever I May Roam is probably my favorite on the album -- one of the few pop songs I am aware of that uses the phrygian mode, which gives it a dark exotic sound (Sad But True, another album highpoint uses this scale too) Unforgiven is epic in scope, featuring some of the best guitar work on the album. Nothing Else Matters seems out of place on this album -- I remember not liking it when it was released, but it grew on me in time. It was fun re-listening to this... I don't think I've heard it in its entirety since high school.

Did not recognize the artist, but the opening track Connected definitely sounded familiar. Though this music uses a lot of electronics, it surprisingly doesn't sound dated to me. I think the use of live drums helps it to have a fresher feel. I have to say, I really appreciate acts that use synths, but not drum machines. Franz Ferdinand is another band that I appreciate this about. There is also nice use of woodwinds throughout the albums. And though this isn't particularly cutting edge (even for 1992 standards), and there are plenty of other hip hop albums that probably do this even better, I found myself really enjoying this. A few days ago I actually started making an early 90s hip hop playlist including the likes of Bel Biv Devo, Arrested Development and others. I'll probably add a track or two from this as well.

Wow -- classic Santana! Most of Santana's music that I have heard has been much more recent... and much more refined and polished. It's interesting to hear this more raw and unpolished version of the band. Theres an amazing fusion here of Latin (I LOVE that percussion!), blues, rock and jazz. I think the strongest element is the improvisation -- technical but also full of emotion in the moment. Black Magic Woman is a classic, and I really loved Incident at Neshabur.

Not at all familiar with this group, though I recognize one song not on this album that Nirvana quoted at the beginning of one of the Nevermind tracks. I don’t know what to make of this album -1 it sounds like a recorded identity crisis. The opening song sounds like square dancing class in gym. The second song sounds like it’s trying to be Bossa Nova but doesn’t quite get there. There are a couple of instrumental keyboard tracks that are okay like Trillium and On Sir Francis Drake. I don’t know what Don’t Let the Rain Get You Down is trying to be but I just found it irritating. Sham sounds like an attempt at the blues. And there are a couple short instrumental transitions… like they had these unfinished ideas that the didn’t know what to do with. I appreciate artists that take different styles and fuse them into something new and different — like Santana did so well on yesterday’s album. But this just seems like a hodgepodge of disparate styles in each song without any cohesion… and none of the styles done particularly well.

Good, but not the best from The Who. The James’s Brown and Bo Diddly covers were the particularly weak points.

This was completely new to me. When I read that some called this the American response to the Beatles' Sgt Pepper's Lonely Hearts Club Band album, it spiked my interest. I ended up listening three times through, and though I was able to find more appreciation with each listen, I think that comparison is a gross overstatement. The songs are strong with a high level of musicianship -- featuring some great guitar playing and vocal harmonies... but I wouldn't be able to name a specific song that stuck out to me. And this is a great example of how the 5 star rating system here is really inadequate. I liked this album more than some of the albums I rated 3 stars, but nowhere near as much as REM Green which I gave 4 (which would be a high 4 at that). And so we find this relegated to the ocean of threes.

When I got into alternative music in the late 80s the Clash had dissolved and Mick Jones had moved on to his next project Big Audio Dynamite. The Clash's hits were still in heavy rotation on alternative radio and they had nearly an elder statesmen status. Having their origins in punk, this album is where the Clash expands their sound into what I feel would help to define post punk alternative rock in the 80s. Some songs have a more punk like quality -- Four Horsemen and Death or Glory seem like throwbacks. And I'm Not Down almost sounds like the Ramones. I love the ska sound in The Guns of Brixton and Rudie Can't Fail. Spanish Bombs has a proto-Smiths sound that nicely foreshadows what Johnny Marr would be producing a few short years later. There is a bit of double album fatigue toward the end, but all in all a very solid album.

Wow -- I somehow missed out on this gem back in 2000... But wow -- this is a really strong album. It's hard to pick favorites, but Wouldn't Mama Be Proud has been running through my head. I can hear this album's influence on upcoming favorite artists of mine like The Shins, Death Cab for Cutie and Ben Folds. When an artist like Elliott Smith passes away at a young age, they remain forever frozen at their peak... along with a tragic sense of what more they could have accomplished. He was definitely on an upward trajectory with this album.

I had a hard time with this album -- too much sameness across the tracks. The musicianship is well enough... I read that the vocalist was a guest singer in the Battle of Evermore on Led Zeppelin IV -- seems like high praise. But the style of the music doesn't do a whole lot for me. It often uses drones in which the same chords are used over and over and the variation in melody is what creates tension in the music... but this was tiresome for me in songs like Matty Grove. And Tam Lin and the final song Quiet Joys of Brotherhood are just SO repetitive... The high point for me was the instrumental medley that featured some nice fiddle work and far less chordal repetition.

Earth Wind and Fire's music is the kind that can almost certainly improve your mood. The culmination of the incredible vocals with gorgeous lush harmonies, the rhythm guitar and fender rhodes providing an aural backdrop, the effective use of brass and the funky drums and bass holding it all together like glue... it's magical. Shining Star is so tight and effective as an album opener... all the way to the layering found in See the Light, this is very close to a perfect album.

Ugh, this was another rough one. Some of the songs on here started well enough, but then something would happen that would completely derail the experience. If There is Something sounded great at the beginning, but at one point the singer started using this wild fake vibrato. My daughter was in the car during this song and commented that the singing sounded like a bird having a seizure. And he uses this voice often! Later in the same song the soprano sax suddenly starts inexplicably squealing. One year I had a sixth grade band in which a few kids would come into rehearsal and just start wailing as loud as they could on their instruments. This sound brought me right back to those classes. I'm left scratching my head at all of the decisions that were made in creating this album, and the folks who willingly paid money to hear this in their homes...

With Miles Davis every album marks a new musical direction or innovation, and many of his songs have become standard jazz performance pieces. This album marks the departure from bebop to cool jazz. Great stuff!

Boy, this album started so promising... but turns out to be an exercise in disappointment. The opening track is a straight ahead blues tune with some cool slide guitar. I thought sure, I'm on board with this. The following tracks were good in a similar manner. The song Electricity is nice, featuring some Moog synthesizer -- I have to imagine this is some of the first use of it in pop music. But in the same song the singer starts using this whooping vocalization that makes the song virtually unlistenable. The rest of the album falls into endless repetition. There are some instrumental jams on the back half that I would normally be down with, but they aren't very imaginative and aren't played with any particular skill. This is such a contrast with Birth of the Cool yesterday in which improvisation is used, but is thoughtful and features impeccable playing skill. The opening third would be a high 3 even pushing 4. But the back end of this really sounds like they were just padding the decent material with filler to complete an album length release. It's really too bad.

Wow -- not familiar with this at all. But there is some great musicality here. I really like the guitar and mandolin picking on this album -- they really lend some energy to the songs. And the vocal harmonies really pop -- reminded me quite a bit of the Everly Brothers. They would cover the same song Kentucky found here a few years later. My only complaint is that there is less of the guitar and mandolin soloing on the second half of the album... and I could feel a drop in the energy level. Though I am not likely to revisit this, I can appreciate this solid effort.

Though I really like David Bowie, I don't know this album or any songs on it. I was surprised at the brevity of the songs on the first half of the album. But they're catchy little vignettes with guitar and synths, with some vocals. I really like these -- they feel fresh, and none are long enough to wear out their welcome. The second half contrasts with its longer instrumentals featuring a lot of synths. Though Warszawa gets a little long, I really like the latter three. I can hear influence from Kraftwerk... and I can hear future influence on new wave and synthpop music that I love in the 80s. Overall this was a very enjoyable listen.

What can I say, I'm a sucker for 80s New Wave. I was a little kid in 82, but I had an older brother who had MTV on constantly... which featured tons of New Wave music. This became the soundtrack of my young life. In High School and College, I would buy New Wave compilation CDs to satisfy that itch. I am certain that Poison Arrow and the Look of Love were both on those CDs. Aside from those two songs, this was my first time hearing the other songs on here... and I love it. What? There's a Look of Love part 4?? What happened to 2 and 3? I love the seamless combining of guitars with synths -- it's so well done. The processed drums with reverb, and the swagger of the singer -- it feels at times like he's channeling a Rat Pack / Frank Sinatra vibe. But the real star is the bass player with the chonky melodic bass lines throughout the album. It makes me feel like a character living in St. Elmo's Fire or a John Hughes film. Aside from Poison Arrow and Look of Love part 1, Valentines Day and Tears are not Enough (LOVE that synth trumpet line at the beginning) are standout tracks among a field of bangers. Okay, now you know that New Wave is my kryptonite. Don't judge me ;-)

While listening to this, it got me thinking. Yesterday's album Lexicon of Love was instantly enjoyable for me -- I didn't have to think about it as my appreciation came about naturally. I can't remember the first time I heard A Love Supreme, but I'm sure that I approached it with an understanding that it is considered a great album and important in the history of jazz and popular music in general. Appreciation for this was not instantaneous like yesterday, and it feels like listening to Coltrane is a more cerebral exercise than listening to ABC. Would I have come to an appreciation for this independent of knowing it's a classic? I'll never know the answer to that, but it's interesting for me to think about. This album is really something special. It's a musical expression of John Coltrane taking back his life from addiction and committing himself fully to his music, and thanking God for the experience. It starts with a simple four note tune that repeats almost as a meditation or prayer that blossoms into a multitude of ideas. Coltrane's playing is a masterclass in not only saxophone... but in musicality and expression. The rest of the combo beautifully supports and compliments Coltrane, and I especially love McCoy Tyner's piano work on here.

Alternative band from Australia, cool band name and a great looking album cover. This should be a homerun, right? Well, we had three great albums in a row this week... I suppose it's the law of averages that a clunker comes along. It seems like the vision here was to mimic differing styles of music then add screaming and guitar feedback. Which I guess is something different, but it just doesn't work. And it doesn't help that the mixing sounds like someone's cat walked across the mixing board and they just went with it. Why is the guitar feedback louder than everything else at times? There were a few moments that sounded okay but ultimately sounded derivative or just forgettable.

Before today Hey Ya! was the extent of my knowledge of Outkast. Speakerboxxx is a good album, and The Love Below is a great album. Together they are a bit bloated as a double album... the interludes disrupt the flow and this could have been a SPECTACULAR single album. Hey Ya! into Roses is a great one two punch. It's kinda funny that My Favorite things is on here -- John Coltrane famously did a jazz version of that song... who we heard from earlier this week. The version on here is great going into the luscious Take Off Your Cool with Norah Jones, into Vibrate -- which is one of my favorite album highlights. Whoever is playing piano on this album has some serious chops!

Another nostalgic album for me — JAMC got a lot of radio play on KJQ in Utah. I can’t really name many of their songs other than Just Like Honey off the debut album… and though the songs here kind of flow one into the next, I really love the whole shoegaze vibe on here. It’s a unique sound that I just find comforting.