1001 Albums Summary

I thought this was wonderful. The grooves, the control, the overdubbed vocal lies. Great stuff!

I have not listened to this whole thing yet because my headphones BROKE!! But I actually liked what I heard. I think 70s cock rock sounds best when in this live setting. It's a raw, it's a bit sexy, and it sounds like a hell of a good time.

Fine, I guess. I understand how this became the progenitor of all D&B but I still don't actually care for this kind of music too much. At least sober and in the light of day

I love love love Silver Dagger and always have. The rest of Joan's work has always been of more historical interest to me than anything else. Her voice is incredible and she clearly has a very thorough understanding of the folk canon, but I'm just not that moved by the more yodel-adjacent strain of folk that was popular at the time. It's not a fair comparison, but Bob's more grounded strain is more more kind of bag.

A little too intentionally absurd for me to fully lock in to, but the highlights (Tainted Love, Sex Dwarf (of course)) do indeed continue to rock.

I would go on A Date With The Everly Brothers any day of the week. Cathy's Clown is the definite highlight here, but the surprising rhythmic complexity and playful melodies which always sing out in the duo's songwriting still abounds even amongst the deeper cuts.

Obviously a classic.

Way more fun than I expected!! I love fuzzy 60s weirdness.

There is literally no occasion where I would not feel like putting this on. One of the great vibes.

If you close your eyes you can almost see the blinking lights of the analog sequencers. Never has electronic music felt both more tangible and cosmic.

Sufjan Stevens: *plucks a single banjo string* Me: Bursts into tears.

Hell yeah, makes me want to mosh

Totally fine. Good dishwasher detergent and music.

Insufferable drivel. I hated every second of listening to this. Jamie xx has done far more interesting work separate from these two vapid nothings.

I prefer my trip hop with a bit more cinema, a la Portishead. But totally chill and unobtrusive!

On of my all time favourites. I love Miles dearly.

Unavoidably good, even if the second half lacks the immediacy of the famous singles which the first half throws at you without mercy.

I had absolutely no hope for this being good when it came up, but it was surprisingly enjoyable! Who knew the guy from Drive Like Jehu had a straight down the line punk outfit, which was seemingly more successful??? The world is full of revelations.

Clearly a work of genius, even if the I only really connect with the established bangers. These French dudes knew how to structure a house beat better than anyone before or since.

Never understood why Ryan Adams was "the guy" for a small period of the early 2000s, and this does nothing to explain whatsoever. This is only compounded by the fact that he is, by all accounts, an emotionally manipulative and abusive man child. No thanks.

Not as strong as Harvest or, my fave, After the Gold Rush, but still nice to listen to all the way through.

Truly wonderful. Brimming with beauty. The most compelling blend of Brian's two modes: Camp Glam Rock Creature and Ambient Music King.

I admit to only listening to the first song and then the famous 22-minute Whipping Post extended jam. Good stuff! Would love to grow out my hair, pull up to the Fillmore on my road hog, light up a blunt and vibe out to this. But I can't!

I'm not as keen on the Stones' output as a honky tonk Americana band. Sympathy For The Devil is an obvious banger and one of "The Great Songs", showing up in trailers and films more times than I've had hot dinners, but everything after this is entirely unremarkable to me. I'd rather listen to Bob Dylan's Basement Tapes any day.

Totally fine. Just not a huge fan of this kind of folk-inspired English pub-rock.

I have to give this a proper re-listen, but I do love how elusive and unconventional the song structures here are, even when she's in a far more traditional pop mode. What initially sounds like a standard 90s tune breaks down once you listen closely. And the fact that she was NINETEEN when this came out just elevates it even further.

By far my fave Zappa. Willie the Pimp fucking rocks.

The platonic ideal of a Pumpkins album. Careful cherubic harmonies veer wildly into grunge distortion, before moving again to a post-psych-rock guitar licks. The closest they got to perfection before Billy Corgan's ego took hold and things began to get a little heady. On a songwriting basis they would hit higher highs later on, but on an album level they would never produce anything as direct or consistent ever again.