1001 Albums Summary

Stones, free jazz, Kurt Weill, there's a lot going on here. In 72/73 the genre lines weren't so bright. Thankful for that.

Intimate and warm. A goth AL Green with god and love front and center.

I realize the chooglin' jams are to flesh things out and provide variety, but the short songs are so good. The 6 short classics take up as much time as the two jams. Heard it a million times as a young'un (born in '64), but songs like "Up around The Bend" still crackle with energy.

I don't understand a lick of Portuguese and this is still a great record..Brazilian and Funk classic.

Calliope pop with all sounds considered. Cheeky, sarcastic fun.

Amazing sounds and textures on the instrumental tracks. A couple of recognizable David Bowie vocal cuts..and yeah I can see why folks were divided at the time of release. If this is what writer's block/kicking addiction sounds like..it is a great record. It isn't one I'd return to often,but a must hear in the Big Bowie Picture.

Not my go to Neil Young record. Old Man still hits, especially since I'm older.Hard to be objective after hearing the hits so many times...Love Neil, but this one is not for me.

Blues, gospel, and jazz...mellower than I remember it. Mr. Smith is so smooth on the organ.

The title cut is an all time tune for me. Joy and Can't Let Go are amazing. An A album and probably a 4.75.

Making an archive come alive..The players of some of the most influential pop music of the 20th century are brought back to share their stories. Brilliant.

Not as experimental as her later stuff..but still 100 per cent Bjork..bouncing from club sounds to torch songs.

Aaah lofi...I always appreciate the crunchy guitar mixing with the jangly.

Less dated than I thought it would be. Turns out the the problems of 1992 haven't gone away. New names, same games.

Godfathers of goth deliver. Bass parts alone make it worth it. Danceable in stretches. Not as gloomy as they say.

Whoa..a 20 minute dream suite about an alien race(I think)..nice. Instrumental sounds are top notch, Mr Lee's vocals..an acquired taste.

Haven’t been intimate with this one for ages, although I did buy the LP the day it was released, back in 1985. I loved New Order, because I loved Joy Division. Low Life continued in the dancefloor direction that would eventually push me away from the band, but in 1985 there were still a few hints of the goth past. Today I remember fondly my New Order/ JD fandom, but with Unknown Pleasures and Closer a click away it is hard to see putting this record on over those 2 at any time. For the dance floor it's straight to the 12” collections.

Very groovy for 68..not rock. Jazz sounds, r&b vocals, painted from memory lyrics. Dug it.

This is what guitars should sound like. Mali, the real home of the blues!

It is a lot, but the songs are so sharp, ironic, thoughtful, funny,emotional...and the sounds are varied enough. In terms of an exercise in writing unique material on the most wtitten on subject of all time, it is epic.

Folks say it's depressing, but it's just a love story with junkies and sad children and death. Yeah, come to think of it, kinda depressing.

Energy..yes. Warmth..very little.

Miles leads a big band toward bebop..he wasn't ahead of his time, but he was right on time.

Dylan vs. Lanois...Dylan wins, becomes New Dylan.

Broadway style but with enough Jacques Brel to make it interesting.

Save the vocals, I love. Short, sharp rock

Guitars played loud in the service of pop songs. A dying breed in '97. Sounds good to me.

The drums on this record almost ruin it for me. A fun little revenge record.

An exhortation for boys to dance..ultramodern beats (for it's time),empowerment finger snaps as songs..meh

Poppier than I thought..graded up for having real guitar sounds. Probably where guitar based rock had to go to live in the pop world.

Must've been a blast of fresh air in it's day. I've heard later stuff from her and liked it. A book end to Belefonte at Carnegie Hall. Good stuff.

Solid! The slow jams are less memorable, but the rockers deliver.

Surprisingly subdued.

An all time favorite. I listen to a lot of music, but mostly song by song. I've returned to this record twice a year since it's release.

I liked her more with the twang..but I see why she did this and she is an incredible singer.

First time with the Furries...enjoyed the crunchy guitars, the attitude, the psych touches and the group singing.

I was 15 when it came out, but the wanton rock god thing was something I already knew about, so that wasn't shocking.A lot of the older rockers seemed to want to tap into the punk rock energy. Didn't happen here. There are some amazing guitar solos and the sing/hum along recurring themes. Not my fave Floyd, but still good.

A short record with a variety of Bowie styles..still prime Bowie.

Some of the famous edits are very harsh. When Miles's trumpet comes in it sounds great. I would've liked more.

Heavy Blues Rock but with pop elements as well. Solos are there, but the songs are short..lyrics..comical

It becomes so clear where the roots of the blues are planted. Soya is sublime.

The beats are just ok and Lauren doesn’t have enough verses. The ones she gets are excellent and worth the price of admission.

Just OK for me.

Sounds amazing..crisp and clean 60 years on.

Blues and psych intertwined...Dug it.

A wide variety of progressive r and b styles. Salacious, but not just for the sake of it. Even though she collaborates with many producers, it's her record. No easy feat.

Led Zep filtered thru Broadway. The guitars really rip and Freddy,Freddy, and Freddy sound good. Much harder rock than I remember.

Spectacular. A perfect sense of place and time delivered.

I would usually say GP is my fave, but upon review this one is right there.

She sounds good. I don't connect t with this like I do with Jorge Ben or Os Mutantes, but glad to hear it.

First time hearing this one. I was not expecting a lot, but this one lives up to the billing. Hangs together beautifully.

It didn't grab me sonically, so I didn't get a chance to connect with any lyrics.

First time hearing..I was expecting something scuzzier.

Still hits..Anyone who's seen a pile of disorganized, dusty records and drooled knows for sure..but anyone with an open mind should see this record is made with so much care and musicality, that it puts the whole sampling is stealing trope to bed.

In the end it is a pre cursor of the mid 80's pop metal. Yes, great soloing, but not hard or heavy at all.

Next to Van Halen Sugar seems harder and heavier.

Sassy,snappy..loved!

In the big Bowie picture...kinda mid

Aaaah, when computers sounded like computers and all the more human for it.

Pretty succinct for Prog. Excellent organ, but nothing else stood out for me.

Came out my first year at college. Between it, B-52's, and Prince the entire party soundtrack was set. Which had me hating REM at first. I was more Clash and Hip Hop at the time. Sounds better to me now.

Just rips.

Cringe moments with the lyrics take away from the abundance of sonic goodness. First time with the band and I may have to go back and check out a few of their back records. Never thought Id hear so many Jacques Brel songs on the 1001.

The encyclopedia of guitar riffs (some stolen,some original)..and drum riffs and bass lines. Songs are long but the grooves are solid. I don't know if any vocalist/lyricist could match what this power trio laid down.

There are moments, chord changes, perfectly timed samples, that are sublime, but I'll take DJ Shadow or Little Axe or Dilla over this one.

If I was between 10 and 17 when this came out...maybe. I was 35 when it came out and it barely registered. Now, I can't.

Can’t get over the voice and the squeaks and squiggles of 80s synth. I do like some of the wrinkles in the drum programming.

First time with this LP. The quality is evident. It won’t enter my pantheon, but it seems to fit perfectly into it’s time.

Side 1: Killer chamber psych, 5 stars Side 2: 19 minute jam, 3 stars.

All the voices make dis joint a little disjointed.

Call me provincial…I learned his songs in English from “Jacques Brel is alive and well and living in Paris” and loved them. Since the lyrics are essential, these originals don’t work for me. My loss really.

The side closers A + B are the only thing holding III back from a V.

Not my favorite from Declan. The UK based themes go right over my head. My bad.

Yup..this kicks hard, like a funnier Stooges.

Brave and loud.

Would've been happier with some up tempo numbers, but those voices can not be denied.

A great harbinger of the awesomeness to come from them.

It was fine...just fine

The hits are big and fun, but the rest feels like filler.

Carrying the funk forward! A little long though. .

A little depressed he is. Conveyed with conviction.

Good stuff. Electronics don't have to be sterile. More please.

Good stuff. I love it when Brits sound like Brits.

I like the concept and the variety of sounds...reminded me of Chris Bowden's Time Capsule, which I love.

Goes all out to entertain and gets there most of the time.

First time through this whole record, although I was familiar with the singles. The psych touches on the album cuts added to the vibes of the groove based cuts.

That was fun. Well done Mr. Pollard.

Look, I 've been to Graceland and I'm aware how important Elvis is(was), but the covers on this record are not nearly as good as the originals. The sound is way too clean. To his credit the non Rock N' Roll sides are excellent. Give me the Sun sides every time.

Not something that will enter into my rotation, but loaded with grooves. Some go on a bit long.

Death, murder,and mayhem...but the fun kind.

Love the sax, sass, and sentiments. Excellent.

Starting the 90s off right. Proving hip hop could grow. A perfect transition to a new era. Unique samples throughout.

Beats aren't too shabby, but the Queen gets a bit repetitive with the lyrics. Tempos are all dance floor speed..except the reggae style tune. Latifah shows a mastery of styles, but doesn't establish her own.

Not my fave Waits, but the bar is very, very high.

I go back and forth with Janis, but she shed light on some great tunes and was authentic as a person can be.

They pulled out all the stops and it works. The last 3 tunes make it a special record.

Weirdly, I like the slower tempo parts. The sheet of guitar noise is not my favorite. There's a sameness to the sound.

I don't know why, but parts of "I've Seen All Good People", particularly the nonsense syllable part, still move me every single time. It feels like sorcery. I'm not really a fan of the rest of the band's work, but some moments on this album take me to a happy place, usually reserved for my most favored tunes.

Philosophy with guitars and multi tracked vocals. I'm in.

I like that it doesn't sound like CSNY. I like the guitar crunch and the choir replacing CNY.

Everything is fine, just fine.

Like candy with razor blades.

A lot for me to like here; the bubbling bass, the yacht rock moves, the depression discussion. Experimental and familiar. Dug it.

Loved the bass and drum sounds. The late 70s synths sound a whole lot better than what the 80s would bring, which is probably true because they sounded new and futuristic when they first arrived in my teen years. Seems like this record was huge in influence.. both sound and attitude.

A softer than I'm used to Smiths. I like them better when Mr.Marr is noisier.

1988 was the beginning of the end of hardcore hip hop fandom for me..Eric B & Rakim and BDP were my faves, but we also had Stetsasonic, Ultramagnetic MCs, Jungle Brothers, Big Daddy Kane, and more. This was the golden age of hip hop. PE were recognized as unique and important right away for the stance and attitude, but the beats are what set them apart and made them as influential as they are.

There are moments of sax propulsion, but the restraint is sexy.

Noisier than 'Hymns" and not worse for it.

Hard to be objective about this one. The fact that folks are arguing about it 60 years on says something. We aren't arguing about the Beau Brummels.

First time hearing the band.I understand they were doing something different with their sound here. It is very listenable and features interesting sounds from acoustic to electronic. I see Kate Bush coming up next for me and I can't help but compare..unfavorably for Goldfrapp. However, that bar is quite high. Enjoyed this record!

So singular, so original. Not always my favorite sounds, but done in a unique way.

If you came of musical age in the early 80s,as I did, many of these sounds are lodged in the memory banks. Crunchy breaks, blaxploitation vibes, Joy Division moves, and more. A kitchen sink approach..not too shabby.

Perfect for a yacht and mid 70s FM and a prep school reunion.

Loved it. There are warts, sure, but coming after Steely Dan, this record shows that perfection has its limits, and imperfection can be thrilling. Does not aim to please...and I'm fine with that.

I was 5 when this came out. My pops had this record. I heard it a lot. It was pleasant enough, but it wasn't mine. Then as the 80s came along and I started to have my own music, the rock canon was being laid out. We were told that records like this were the pinnacle and they weren't making music like this anymore. I remained skeptical. Now in 2026, I know the canon has great stuff, but it was and is super narrow. There is so much more out there! There is nothing wrong with C S & N, but it will never mean as much to me as Joy Division or Planet Rock or even The Meat Puppets. Impossible for me to be objective about it.

Tasteful indeed. There isn't anything bad to say about it. It doesn't resonate and it is highly unlikely Ill play it again, but if a tune pops up randomly I won't turn it off.

I had been buying Def Jam 12" since T La Rock (sampled herein),so I was primed for this LP and bought it the day it came out. It was fun at the time but certainly not groundbreaking. Hold It Now, No sleep, and Paul Revere are the only songs that I would like past a year. Eric B, BDP, and Ultramagnetic were just a few of the stone classics that came in 86. Most of my attention was there. This album is important in its time, bringing in the burbs,as it did eventually, but it doesn’t age well and the Beastie Boys did a lot better work down the road. Rick Rubin, Russel Simmons and RUN DMC were my heroes back then, but Rick and Russ turned out to be marketing geniuses, not musical ones. RUN DMC’s Raising Hell was 86s best hip hop album,their peak, but I don’t listen to that anymore either. 4 stars for the memories.

Maybe one and half songs below 5 stars. Gorgeous record. And another thing...the NYC scene that birthed this record wasn't based on one signature look (flannel) or genre (post Zep heavy), like say Seattle, but a wide variety of sounds and ideas. Originality seems to be tough to come by these days with all the niches and their algorhythm driven silos.I didn't hear this record when it came out, but it instantly appealed to me when I heard it 5 or 6 years later. Sounded great this morning as well.

First time through for me. I love the crunch of the guitars. I like the political rage baiting. I was near 30 when this came out, so while I get the rage, it doesn't move me. A few years earlier bands like Living Colour, 24-7 Spys, and even Urban Dance Squad were making similar sounds (although Mr. Morello has some new tricks up his sleeve). There is a lot to like, but some of the superlatives I see don't compute with me.I get it though, it wasn't made for me in the first place.

Instantly drawn in to the sound when I first heard it in a coffee shop (Headrest) in Brooklyn. Upon further examination, it holds up and I enjoyed the album. I will return to it. With comparisons ranging from Don Henley to Can, from heartland synth to neo dad rock, and from best of the decade to boring garbage, TWOD are doing it right. If this is the middle,todays AOR, I'm in. I believe there's a lot more there, and by seeing how many influences folks see in them, TWOD have made an original.

The slashing guitars and the cheekiness were more than enough to carry the day. This is no DIY...production values are there. Haven't heard any of the copious live material, so I guess that's where I need to go for the REAL.

I knew absolutely nothing about Hookworms, but I found out this record was a departure in style from earlier records in that more electronics were utilized. I wonder if the last song on the record, which sounds less electronic ( meaning guitar ,bass, and drums) reflects their "old" sound. At any rate, the heavily layered synth sounds don't sound bad at all. A serious wall of sound is generated and periodically drops out. Sometimes jarring, sometimes interesting. Except for the last tune, the processed vocals are often buried in the mix. I wish I could hear more..my ears may be the problem though. Never boring and fun to listen to...reminded of Stereolab, Animal Collective, and maybe a little Can. Compliments in my book.

The last stand of indie rock before the majors came a calling. Document ended up being the Thriller of college radio rock. I haven't listened to this since the early 90's. Struck by the power pop ness, the hearable lyrics, the big drums, and lack of Byrd-style jangle, as I listen today. I think it's the first REM record I bought. Had to have it for DJing those college and high school parties. I like individual REM songs better, but this would be my fave record of theirs. I have a lot of respect for these guys, even though they aren't among my favorite bands..they never were.

Liked it a lot more than Neon Bible.

I heard the UK version, so no Paint it Black. Still, they wrote some nice ditties for their non- cover debut, but the blues moves are cringey, as is the anti-woman sentiment, and the semi-country. Not bad for 66 tho. The blueprint was laid and they got better in a short time, especially with the blues and country. The respect for women, not so much. 53 minutes...might've been better at 35.

For all the guitar crunch and caterwauling, this remains very clean, clear and listenable...like pop music, just a wee bit louder. It is a major label debut, so that makes sense. The rapping, when present, is meh. The turntable work, meh plus. It wants to be there for someone, it is professionally crafted..it is not for me.

SPINAL TAP....is this!!!

In 1986 or so I worked for a furniture rental company that also dealt in home electronics. I was tasked to deliver a turntable cabinet with a stereo system to a chap in St. Paul, MN. He was my last stop on a Friday night and he was happy to see me and pleased that I set up his new system for him. He asked me to stay and have a drink and smoke with him to christen the new stereo and the weekend. Wouldn't you know, Space Ritual was first on the turntable. Hawkwind and their fans..good people.

Just because they got good does not mean this is good. For historical purposes only.

I like the pop sounds on Computer World better than the offerings here, but long form songs like Neon Lights still sound amazing. When modern folks want "analog" electronics, these are the sounds they are after.

I've been listening to hip hop since 1980.This record here is rap. Mr. Inem is a damn good rapper and the Dr. makes good sounding beats that are technically advanced but seem to have zero connection to hip hop. G Funk was old, I 'spose, and this is new..no need to pay out on all those samples.Keep all the money in house. The aspiration seems to be full crossover, without losing "authenticity.." Eminem is aware and good on him. He knows he didn't invent shocking tales of violence or bragging about drug use...he knows who Schooly D is and the Geto Boys and horrorcore in general. He knows they procede him by more than a decade in some cases. He is part of the culture and steeped in it. Eminem is just fine, I don't hate him at all. Would I rather listen to Kool Keith or MF Doom...you bet.

Damn, while I may not be a fan of the man and his public facing persona, this is a damn good record. The chap can write a song. However, the bad vibes around him severely limit my desire to listen to him. These records aren't made in a vacuum and there's plenty of other good stuff to hear..without the baggage. Too bad.

B-52s + U2 with Icelandic humor, what wait, did they just say God doesn't exist…huh, maybe I need to take this more seriously. Baby Bjork and the lads make a pretty good record in their 2nd language. Bonus points for that.

Probably the album I've listened to the most, when it wasn't my choice. Most famously on a winter afternoon in 1989, sitting in a co-workers car during a lunch break from installing a slate roof on an icy day in Eastern Connecticut. That day and most days we heard Dark Side during a smoky,mostly liquid lunch. And then, rediculously, we went back up five stories to nail slippery slate tiles on ye olde bank. I always fought the classic rock canon, but it is tough to beat Dark Side for comfort and warmth. So there is that in the plus column...and the early 70s saw the perfecting of analog engineering and LP making. This record sounds amazing. Perfect for FM radio and 8 track in the 70s auto or a fine hi fi system or, especially, headphones. A baby boomer stoner classic. Not a wonder it was on the charts for a zillion weeks. Floyd helped by toning down their long excursions, not making it a double album, sequencing well, and not being too specific with the lyrics. Voila, a very listenable, replayable record, butressed by radio play, critical adulation, and massive sales. But I was a little young when it came out, so it wasn't my Pink Floyd record. That title goes to Animals.I heard that by choice with my bud Ned (RIP)when it came out. We were singing, "dragged down by the stone" into a whirring electric fan to get that phasing effect just right. We weren't even on drugs. We were obsessed though. I was more of a Take Funk to Heaven in '77, P-Funk guy, but I still dug some Pink Floyd. So, with that history, it is incredibly difficult to be objective about Dark Side . It has a spot in my brain, I'm not trying to kick it out (like so much 70s soft rock taking up semi-valuable space), but it is not a pantheon piece for me.

The beats are supercharged and the soundscapes are kaleidesopic, but the vocals and guest rappers don't hold up against them. Still a fun listen with a lot to like, especially M.I.A.s stance,attitude, and perspective.

Wordy, but not exactly literary.

Motown albums are, with a few amazing exceptions, problematic. The label chased singles success, with albums becoming afterthoughts, featuring covers (on this record Roberta Flack and Isaac Hayes), new recordings of the producers back catalog (loading up on publishing shares), and singles. This record came out after r&b/soul consumers started buying LPs (ironically Isaac Hayes started that trend with Hot Buttered Soul) so it became a big seller on the basis of it's one hit. "Papa was a Rollin' Stone" was a huge hit ( and a remake of a producer written track), and Im happy to have the epic album version of it. It does not carry the album.

I was born in '64 so I was late to this record, but by the time I was 18, I'd heard it plenty and heard it lauded quite a bit.I was smitten for a few years, but it didn't last. Now that I'm almost 64 there is zero mystique, a few good memories, and the realization that Jim and the guys were a singles band. Perfect for disgruntled (but not too disgruntled) teens of any age. I mean its funny to think that The Doors and the Stooges were label mates with records out at the same time. They sound light years apart. Those reviewers touting the Lizard King's authenticity, should check Mr. Pop. I mean, "Peace Frog" used to be my jam, because it repped my hometown of New Haven, CT with bloody '68 rhetoric, woo hoo..but yeah, he's talking about his arrest in New Haven, where he was drunk off his ass , whipped out his dick on stage, and got hauled in for obscenity. Not exactly Kent State. It was always about Jim. This is my problem with the Doors..the old bait and switch. Packaged rebellion. There are hot singles in their catalog and on this record, but like a Motown LP there is no shortage of filler. As you might be able to tell, when it comes to the 27 club Mr. Morrison is at the bottom of my list. 1. Jimi 2. Janis 3. Jim

Oh man, I wish the band would stretch out..but country radio wouldn't have played it if they did. Despite the restraint, it is still a decent record, because the band is tight and Merle is Merle. Not too many great country albums from this time..singles were the thing. 12 Songs in 31 minutes. Very listenable in that way.

Cheers to dance music producers who want to make album length statments...Nuyourican Soul, Mr. Fingers, Faze Action,etc. But music that sounds great in the club can't always make the transition to the living room or headphones, no matter how good your stereo is. In the right location, I'm sure this album sounds great, but even then...new songs and sounds from the DJ have their own appeal and dropping the needle on a complete album isnt happening in the club anyway. I love the sound here, I love the vibes here, but it makes me wanna be somewhere else.

If this was a single disc it would be legend. Instead we get a front loaded double. The genre jumping is fine (maybe not the country)...Pink Floyd, Little Richard, proto disco, Soul Train moves...I love it. I guess it wouldn't be the 70s without the excesses. Plenty of Gold here.

Unhurried, unforced. Loose and tight. A double LP that does not feel too long. Just compare their 64 cover of Slim Harpo's King Bee to the 72 version of Slim's, Shake Your Hips. In 64 they were mimicking the blues..in 72 they were playing, and well. Hangs together perfectly as they blend the strands of Americana that make up Rock and Roll.

Three out of twelve songs are Rock and Roll standards (if there is such a thing). At least 3 album tracks are worth further listening, while the rest suffer from the 50s style backing chorus. Amazing that these tunes are still potent after nearly 70 years. And they said RnR was a fad. Tsk,tsk.

This is a beautiful record. Side one is an easy 5 star. Side 2 slips a bit, but is still prime Simone.

The first time I heard the title cut on this LP was on a French rare funk compilation in the early 90s. It was love at first listen,I wanted more, but finding the album was no picnic. I finally came across it a few years later in Rockford, Ilinois at the amazing Toad Hall. Two Victorian mansions stuffed with rare artifacts. $10 well spent. Other than finding the first Cymande record at a Salvation Army in New London, CT., Inspiration Inspiration is my most favored vinyl purchase of all time. Shuggie and I have a history. Nowadays, thanks to David Byrne you can hear this easy peasy, no digging necessary. Kinda amazing, but kinda sad. The joy of the hunt is real. Anyway, this is a spectacular record, probably a 4, but upgraded for personal reasons. Besides the absolutely sublime title cut, you have slippery funk, layers of electronic grooves that would make Stereolab proud, and Shuggie's sweet voice. A truly unique record.

You Gotta Move, I Got The Blues, and Sister Morphine pull this one down to a four. Brown Sugar and Bitch do rock, but..damn. Dead Flowers (check the Townes version)and Moonlight Mile (check the Lee Fields version) have become faves for me over the years.

Listening to records you haven't heard, out of context, ain't easy. Even if synth keys sound dated now, they weren't when this record came out. But yes, the smoothness is palpable. Also, this is not country. What is called country now may have stemmed from pop production like this, but the slide guitar on this record comes from the blues. And, I saw so many user reviews of this record describing it as the same old lyrical content, but are there really that many songs about the love lives of 40 year old women? In pop music...no there are not. I believe that's why this record was successful and lauded in its time. It delivered something that is rare in pop music...a desciption of adult love and passion. Older people do have sex and acting like you are horny teenager when you are 40 and know better, is not authentic. So yeah, no teen angst (not that there's anything wrong with that). Just the real deal from an authentic dealer. The 80s keys are indeed meh, but they are only a minor qualm. After almost two decades of excellent music Bonnie finally got paid and recognized for the trailblazing she had already done.

The sound on this record is amazing. The players really stretch and deliver strong versions of American classics. A comeback record of sorts, as big bands were having a tough go in the mid 50s, mostly because of economics. The folks at Newport were showing love for Duke and the Orchestra from the jump. When done right and arranged properly, a big band can't be beat. If we could just afford to pay the band.

Dance music seems very time sensitive. The music you dance to in your club years becomes the standard by which you judge dance music. For me that means Disco, House, and NYC Club Classics. If the club music is not "your" club music it is hard to be objective. The complaint is that (insert unfamiliar dance genre here) all sounds the same. I can be objective enough to note that all Jungle/ DnB does not sound alike.I do have a lot of respect for the ideas, the technical prowess, and the desire to make intelligent sounds. That said, the fact that each track must have the same or very similar drum break, seems to go against the grain of all the other progressive ideas. I joked with a friend that D n B is like 12 bar Blues. There is a form and rules. Look, I love the blues done "right" and dance music done"right." I like broken rules a little bit more though.

Sledgehammer was the #1 video on MTV in 86 and it is a cool video. But a look at '86 via MTV charts and Pop charts shows an industry pushing adult pop as pop. No wonder they needed to make VH1..old folks like 36 year old Peter Gabriel were taking over. The music biz was still looking for a Great White Hopes in Rock music, whether it be hair metal or ex proggers like Genesis and Peter Gabriel. MTV just wasn't ready for any Black artists. It's be a couple of years before Yo MTV Raps and Boy Bands changed that calculus, but until then we had Starship, Ratt, Bon Jovi, Kenny Loggins, Robert Palmer, Sting, and..... Peter Gabriel all lumped together..very cringey. Too bad for Peter Gabriel, he deserved better than to be associated with this lot. I'm sure he claimed some young fans, but he was an adult making adult music. So, So is not too shabby. I gravitate to the slow ones and I like the real guitar sounds on Big Time. It's funny, my wife said this sounded like Sting..I don't know about sonically, but I would say that both Pete and Gordon appealed to a certain mid 80s music fan who was looking for music of quality, that sounded great "on CD", and separated them from the pop metal, Madonna, and Whitney that ruled the airwaves. Meanwhile there was some great stuff going on in indie rock and hip hop in '86, but it wasn't sniffing the charts or MTV. Mr. Gabriel had his moment and he made some very good videos.

When faced with other assessments of this record as a masterpiece or on par with his work with the Beatles..I just can't. It is front loaded for sure. Side one is a 4 for me, but side 2 pulls it down. Jet and Let Me Roll It are the standouts, but they are not Beatles level.