1001 Albums Summary

This sounds like an amazingly modern album - I don't know much about 50/60/70 music, but this is not what I was expecting by the Beach Boys. The opening song is a classic, but "That's not me" predates music by 10 or so years, from what I could understand. "Let's go away for awhile" is NOT normal rock, it has some orchestral influence, there's a bit of Frank Sinatra and Dean Martin there. This is honestly incredible, there's jazz, swing, theremin, modern rock, and ancient rock. All at once. That's some amazing music, I knew nothing about this, this is not my country's musical history, so I wasn't ever exposed to it. But I'm flabbergasted, although this is not my favorite genre of music. But damn, I can hear the basis of 80s music, there's a lot that survived up to the 90s, and there's meaning into it. Wow. Simply wow.

I listened to this album. It didn't click with me - I appreciate the LIVE fun they seem to be having, the storytelling, the fun, and all of that. But I'm not sure I love the music itself - it's great, but it does not resonate with me. I should come back later for a new listen of this album.

The album opens with a horrible punk-ish rock-ish rap. Most definitely NOT my vibe - I'm all for PUNK, I'm all for Rock, I'm all for RAP. But I'm not in for whitewashed rap stitched with glue with (mostly bad) guitar riffs and very noisy drums. Yeah, the second song didn't get any better. Nor any other. The high pitched voices of these guys are not for me, they're just screaming. The messy instrumentals are at times very good (very 80s, some decent scratch, some good riffs) and at times very uninspired (a random electric guitar, a basic drum). I don't know if it's my ear that's just accustomed to the better productions of the west-coast rap of the roughly same era - DrDre and Ice T released some WAY BETTER rap in this same year, and thanks god they didn't have to SCREAM all the time - but I really can't stand these three white new yorkers yelling at me, at each other, at the music. Ooof. "She's crafty". Ooof I couldn't even listen to the whole song, it's honestly just bad musically, lirically, and content-wise. At least "Fight for your right" is musically a song, produced by an adult. They still sound like ass, the lyrics are bad, the flow is unbearable, in that song, but at least it's a song. Naah, this is the worst album I've listened to in a while, I'm glad I hadn't heard it in the past, I am glad I won't have to do it again.

This is what Rap and R'n'B is made of. 1998 feels like yesterday, thanks to this. This is the first time I listen to the whole album, I had heard To Zion something like 20 years ago, and maybe three other songs by Ms. Lauryn Hill. Always been a fan of her vibe, but never been a real fan of her. Well, up until today. Ms. Lauryn Hill shines in this album, it feels fresh and new as it probably felt right when it came out. The production level is out of any scale: great music, a mix of 70s soul, some jazzy vibes, gospel, a hint of reggae somewhere, where real instruments are singing together with samples, voice samples are sometimes used as percussions, and the choir are masterfully placed. The production is 90s, but in a good way: percussions are loud and clear, they wanted folks to dance, but they're outshined by the amazing vocals in the choruses. This is what 90s musical dreams are made of: a charming, warm, perfectly controlled voice singing good songs on amazing music. The lyrics are not a miracle, but they got flow, they got style, they got heart, and they're good. They're good GOOD, they are just not the best lyrics in the world across the whole album, but there's some amazing lyrical prowess in there. These lyrics talk to a younger generation in a lighter world than the one we have now: in the 90s, although most things were not good, humans were more hopeful when they thought about the future - they expected things to get better, and Ms. Lauryn Hill here was teaching kids to keep that in mind always: "You can get the money, you could get the power, but keep your eyes on the final hour". And man, Santana's guitar is something else, in "To Zion". The only small stain, in today's world, are the "long" skits - I actually love them, but I can understand how younger folks may not enjoy them as much as I do. Oh, and some (I never liked them) fades to silence at the end of some songs. That aside, I am sure this is one of the best albums I've ever heard, and among the best R'n'B albums ever made. I can't decide whether it's a 4 or a 5 star review for the fairly small issues I have with it or not. Heck, it deserves a 5.

Ozzy and the Black Sabbath are history of music. Not for the shenanigans, but for the eternal sound of their music (and his voice). My brother 20 years ago listened to a live disc of Ozzy and the Black Sabbath. I wasn't into heavy metal, so I didn't really like it. So when I started this album, I was half scared of what awaited me. And the bluesy sounds with which it opens caught me by surprise - and the next ~40 minutes flew by, listening to something unexpected in every song. This music aged better than fine wine, it sounds like it was recorded yesterday (in the 2020 remaster, clearly), and it sounds like everything after it got something from it. Take the beginning of Tomorrow's Dream: most of the current (2026) Top 50 Country Playlist on Spotify stole something from its guitars. "Changes" brought me back by 20 years, because that's when I first listened to it - difference is I now understand the lyrics, and it's even sadder than it sounds: what is, 20 sentences? It's 5 minutes of heartbreak, sang in 20 or so sentences, with an astonishing production level that mixes a soft piano, something that I feel (given my lack of musical knowledge) is a sort of organ or something similar, and this crying voice. There's a lot of good metal too, here, but it's the kind of rocky melodic stuff that I can get into - this album may give me something I put in a playlist, to be honest. It's a perfect, round 4 out of 5 for me: lyrically, I'm not on board with everything - or maybe I'm not on board with most of it - but musically this is honestly akin to a masterpiece.

How do I reconcile with the Beatles? Well, this is here, so let's start listening to it. Their famous songs, to me, sound like shite most of the time. I hate most of what they became later, I am not a fan of utilizing other cultures as a fancy, funny dress, and after living years in the UK I really, really can't stand the accent. Not a fan of the uncredited voices on these songs. I understand this is like foundational work when it comes to rock and band culture, but damn there's music older than this that grew older in a nicer, more bearable way: Ella Fitzgerald, Louis Armstrong, Frank Sinatra, Bob Marley and the Wailers, Luigi Tenco, damn even Enrico Caruso's music is more bearable than this, nowadays. The production in this album is willingly messy, with electric (I suppose?) organs playing like 20 notes in a whole song, some clappy percussions, repetitive guitar + electric organ riffs used as percussions, and voices that get lost on the musical background. I completely understand the mono and stereo tech limitations of the time, but that does not justify the messy arrangement most of these songs have - I've tried listening to the non-remastered version of it and the remastered version Lossless, and nah, that ain't it, mate. Their pop ballad "She's Leaving Home" is unbearable, mainly due to the lack of a "GREAT" voice. Again, this song could've been a Frank Sinatra song, but in that case it'd have been good, while here it is just a random pop song, to be honest. Lots of violins, lots of soft music, lots of nostalgia, but a huge lack of personality. And no, I don't find the usage of other cultures' instruments particularly amusing, especially but not exclusively when it comes from a british produced album - yeah, looking at you Within You Without You. This is what the hippy movement was in search of: shallow, performative "knowledge" of something unusual, with the certainty of being able to go back to their regular, rich kids' life after all is said and done. Performative leftists going back to their conservative roots as soon as the "weird", long song is over. Now that I finished ranting, the good stuff: These guys were ahead light years - due respect where it's due: their music can sound like good fun and can sound like a heartfelt ballad (at times), it received some influence from American blues, but gave it a decent "different" spin, and it made sense that they broke the market: good looking guys, playing instruments, without a single thought in their brain up until a certain point in their career. There's some foresight of the future electronica genre here, in "Being For The Benefit Of Mr. Kite!", with its disastrous mix of orchestral music, weird audio edit, and the circus thingy going on, and in "Within You Without You", although in that case I have a problem with the whole concept of the song. Gotta be honest, I understand why this is musical history, I just can't bring myself to listen to it ever again - it's BORING, unlike a lot of music from the previous ~50 years before this. That's a 2 stars for me, and one of them I give it only because I see its historical value.

What is this, who are they? Starting from the album cover art: this is absolutely awful. The album takes a whopping 77 seconds to start - I guess there's an artistic decision behind that? What I'm hearing is decent early 2000s music with British pretentious lyrics straight from the late 90s - this is the artistic prole of Beck, the Radiohead, and maybe something like (UH my horror) Moby, with something else I can't quite point my finger at - but this time around, it's Bri'ish. They're like the slightly better version of Coldplay. Same level of nothingness, to be honest, but with at least coherent lyrics. It's pop-rock-ish, it's mostly easy going, it's not interesting at all, though. I can't imagine myself putting this music on in any other occasion, since it's a honest nothingness of an album: these guys are chewing words on nice guitar riffs, the production is godawful as per British tradition, and the lyrics are just... well, Radioheady but without the depression? Yeah, if there was a "SKIP" button here, I'd have pressed it today. Like, seriously, who thought this is an album belongs to a list of the top 1001 albums in the world? I mean, I know the answer: a british white guy, as british as bad food is. Because that's something only a self-important man in his 40s can believe. Can I give 0 stars? Because this has 0 chances of belonging to this list.

Man oh man the voice on this man. This is a musical funeral self-eulogy. The country music is strong, but what's stronger is the emotion in its delivery - very few people could sing about themselves while singing about other folks, other stories, other silly americana-myths the way Johnny Cash can. This album is already great on its own, but putting this out right before his death what makes it a complete masterpiece: an old guy, with a country guitar, the warmest voice possible, and no percussions whatsoever. I had never heard this album before - this became an instant favorite. Storytelling, the way most other artists can, is just a part of the whole album. We're not talking about a killer in Give my love to Rose, we're not talking about an "idea" of the wild west country myths, we're hearing the pain in the words of a man who knew his departure wasn't far off, with all his pain, his remembrance, his memories whispering to him about his mistakes, the pain he inflicted, and the pain he received. This album is perfect for what it is: the voice, the production, the soft yet necessary guitars, the sparse few additional instruments, the trip it took me on, the self-reluctancy with which it says goodbye to life and to his own career. These are not covers, this is the way these songs were supposed to sound since they were written, it's simply that we didn't knew it the first time around. "We'll meet again, don't know where, don't know when, but I know we'll meet again some sunny day".

My ears have been blessed by the 40 minutes of jazz contained in this masterpiece. There's everything, from a late-60 early 70s groove, to a voiceless song sung by air instruments, by electric organs, by voice melodies that are sung with competent notes. I'm in love with the incessant tempo of the cymbals first, then the electric organs, then some bass guitar. There's no end to the amazing enjoyment this brought to me. Listening to this record while driving a car is a top notch experience. Another 5/5.

I'm a huge Dolly Parton fan. In this album I can't hear anything else but her voice, basically. It's a completely fine album, for what it wants to do: old music, straight from a country sound of the (I assume, didn't check it) 1960 or 1970. It's a long lullaby, with amazing voices. I like it, but I don't love it - the production level is not the highest, and the lyrics are what you would expect from a country album with such a sound. It's fine, it's not perfect, and her Majesty Dolly Parton has way better albums I would've included instead of this.

This is the album that got me initiated to american Rap when I was a teenager. I won't waste much time reviewing what essentially is a nostalgia trip for me - this is good rap. It's a bit of a whitewashing version, outrageous version of rap, but it's good rap nonetheless. Eminem had the flow, unlike the awful beastie boys, and he had that crazy creativity that made him famous. This is good music, if you like the genre, although it can be way, way too outrageous for many people - it could put you off because of that. But still, it's not only nostalgia: the production is top notch, the rhymes are top notch, the lyrics are creative and they grew older sort of "gracefully", sort of - it's still a very 90s product, but at the very least is not ALL bad. Back when I was a teenage I wasn't able to understand the lyrics, now that I can appreciate how idiotic and offensive they are, they lost a bit of their fascination - but at least they're good storytelling.

Another useless british album. 2004 with the sound of 1984. The voice is not bad, but it's not good either. The music at the very least is not obnoxious. It's not good, it has some good ideas, but it's just "too much" most of the time, with a low production quality, voices that get mixed up with music and percussions. Nah, this is not me. They sound like the Liverpool Red Hot Chilli Peppers-inspired 50 pence shop band, and I mean it with all the due lack of respect for both bands. Is this one of the top 1000 albums in the world? Nah, not even closely. But at the very least this is not bad. If I get two meaningless british indie rock albums in a row I'll probably drop the 1001 albums generator thingy. It´s such meaningless music - but at least this time around it sounds at the very least bearable.

Is this whole album the same song repeated? The music is good, but not amazingly interesting. Clean voice, decent lyrics (nothing to write home about), decent production. I have heard their songs before, and this album sounds like more of the same. Not bad, but wouldn't call it good either. It's a solid 3/5 stars, I like it, it sounds nice and clean, it's just not mindblowing and it didn't move me, like, at all.

Now that's an album deserving its spot here: The first guitar notes of these album are among the most famous music of the past 50 or so years. These guys were outrageously silly with their lyrics, their aesthetic, the album cover, the "devilish" songs and all of that. But damn, they did know how to write good bluesy/rocky/metal music. The production level is top notch: the amazing screaming voice, the chourus and the music all play along perfectly. This is what electric guitars were created for, to be honest. This genre is the natural evolution of blues, and I'm all for it. Of course the lyrics, and the whole silly persona, are not a s interesting and unique as they were back in the 70s, but we can give em a pass: this music won't get old, it's growing better with each passing day, and it won't stop influencing artists for the foreseeable future. Great listening, first time I sit down and give a whole AC DC album a try, it was absolutely worth it.

I don't get the slang of the name of this album, I have no idea about how this music is so great but I had never listened to it. This is magic stuff, I'm absolutely in love with it, the music is amazing, it's psychedelic, it's great fun. Who are these people and why did I not know that so many music samples were taken from this album!? Amazing. Simply amazing.

This is what political poetry and music is about. I knew Gil Scott-Heron for "The revolution will not be televised". I thought that was good, but this album is top notch stuff. Great poetry, a great voice, jazzy music, and a strong political message. It can't really get any better than this, to be honest. The pain in his voice can only be matched by the pain he'd feel in nowadays political world. Peace go with you, brother. Your music spoke to countless people, and will eternally do so. Peace go with you, brother.

First time I listen to Fishbone. This is cool music, a nice artifact of its time - it's rocky, it's funky, it's most definitely good black music, I can feel it. But it didn't really resonate with me too much, it must be the lyrics or the "happy go-lightly" attitude, I am not able to put my finger on it. But it's good music nonetheless - not the most stellar production value, though, considering that some music from the same era has better equalization and overall quality. The amount of different instruments and styles here is INSANE, so I can't give it anything less than a 4.

1970s pop rock with a hint of country has a dear place in my heart. I'm not American, English is my third language, but this genre has something so nostalgic about it that it makes me feel emotional even though I have zero emotional attachment to it. And Carole King is a painter with her voice, this album depicts clear images in my mind of a simpler time (that never existed) - this is something few artists can do. There's something in this album akin to the idea of "white people's blues" - I don't even know if this is a thing, but that's what it feels like to me. The production level is good, the music gracefully grew older, Carole King's voice is powerful even when the songs are not. There are MANY great songs in this album, and they all convey the same love for humanity, for a specific person. Who thought I'd like old pop rock music?

This is one of the most awesome things I've listened to. Mr Johnny Cash decided to go to a prison, gift them some live country music about murders, longing for home, doing drugs, and such amenities. The result is something above and beyond anything I could've expected: the music is good, the voice is just amazing, and the feeling of "light-hearted escapism" is strong in this album. What touched me most is the tangible despair of convicted men listening to this huge music star and getting a chuckle out of him when he realizes that the murdering, the viciousness that he sings about is tangible in the room where he's recording the whole thing. These men react in unexpected ways to the lyrics. These men know what they miss when they cry in "Green, Green grass of home", and Johnny knows he's as guilty as them when he sings Give my love to Rose - the same song that felt like a Eulogy in his last album, feels like a redemption song in this one. There's good fun to be had in this abysmally dark album, with silly songs giving space to breath in what feels like a strongly heartfelt but heavily sad album. It's Cash, it's him that gives the feelings, the chills. It's his voice, his attitude, his show persona that makes this album simply magic.

Another meaningless british album who wants to feel class conscious and interesting and ends up being the poundland version of something I heard and disliked somewhere between 20 and 30 years ago. At least it's not UTTERLY bad, it's just REALLY bad.

Another sorta meaningless british album. Mind me, this is a tiny it more meaningful than MANY other entries in this list, but just slightly. It's british Rock, with a hint of pop, and the usual plethora of self-important pompous "artistic" lyrics. Yeah, not for me. The music, at the very least, is not bad at all. I didn't hate every second of it, as it happened before with other albums on this list, so I guess it's a good start. Or am I british-ising me-self?

This is the Punkest punk I've ever listened to. It's a short album, the voice is nothing amazing, but the lyrics, the spirit, the essence of it is screaming (or was?) that Punk isn't dead. Loved it, although I have absolutely ZERO knowledge about Punk music and its history.