I knew 3 songs. Loved the variety. "Do It Again" was hypnotic. "Kings" surprised me with its prog feel. "Midnite Cruiser" leaned jazz rock. "Brooklyn" reminded me of early Eagles. "Fire in the Hole" made me think of JY from Styx. Favorite new song: "Change of the Guard." Would absolutely buy on vinyl.
When Disintegration was released in 1989, I was fresh out of Navy boot camp and attending A School. At the time, my musical tastes leaned heavily toward hard rock, hair metal, and R&B, so The Cure was never really on my radar. Aside from "Lovesong," I was essentially hearing this album for the first time.
One of the first things that struck me was how patient it is. Several songs begin with long instrumental introductions that don't feel like filler. They reminded me of the overture to a Broadway show, setting the mood before the story begins. It quickly became clear that this wasn't just a collection of songs. It was an album meant to be experienced from beginning to end.
The first half really drew me in. "Pictures of You" was my favorite discovery. At more than seven minutes long, it somehow felt like half that. "Fascination Street" was another standout, with an energy that reminded me at times of U2's expansive sound. Hearing "Lovesong" in the context of the album also gave me a greater appreciation for why it became such a hit.
The second half didn't connect with me as strongly. "The Same Deep Water as You" and "Homesick" never quite grabbed my attention, although I did enjoy "Untitled" as a closing track. Overall, I found the first half more memorable than the second.
Even though I landed on a 3/5, I'm very glad I listened to Disintegration. I can understand why it's considered one of the greatest albums of all time, even if it didn't become a personal favorite. More importantly, it reminded me why I'm doing this project. Listening to an album from start to finish reveals things you simply don't notice when you only hear the singles. That's an experience I'm looking forward to repeating 999 more times.
I was already familiar with Regatta de Blanc. I've listened to all of The Police's albums before, with Synchronicity always being "my" Police album. What made this experience different was listening with complete intention.
"Message in a Bottle" has long been my favorite Police song, so the album already had a head start. Beyond that, I came away with a much deeper appreciation for how naturally The Police blended punk, new wave, reggae, and rock into a sound that was unmistakably their own. The reggae influence ebbs and flows throughout the album without ever taking over. It's an ingredient, not the whole recipe.
I also appreciated how cohesive the band sounded at this stage of their career. Every member contributes something essential, and it was fun hearing Stewart Copeland step out from behind the drums to sing lead on a couple of tracks. The chemistry between the three musicians was undeniable.
I found myself enjoying several deep cuts just as much as the singles, especially "Deathwish," "It's Alright for You," "On Any Other Day," and "No Time This Time." There were a couple of songs that didn't stand out as much, but they didn't take away from the overall experience.
This project is already teaching me that there's a big difference between hearing an album and truly listening to one. I'd played Regatta de Blanc before. This was the first time I really listened.
I couldn't have asked for better timing. Just days after the Newport Jazz Festival wrapped up, my random album was Ellington at Newport, recorded at the very same festival 70 years earlier. Living just 10 to 15 minutes from Newport made the experience even more special.
I listened to the complete concert, and I'm glad I did. This wasn't just a collection of songs. It felt like being transported back to the 1956 Newport Jazz Festival. From the introductions and audience reactions to Duke Ellington enthusiastically encouraging his musicians, I felt completely immersed in the performance.
The defining moment came during "Diminuendo and Crescendo in Blue." I had no idea it was one of the most famous live performances in jazz history. I was taking notes when, about two minutes into the song, I suddenly stopped. Something had changed. I looked at my player just to see what I was hearing, and I literally got chills. The audience wasn't applauding because Ellington was famous. They were reacting to an incredible performance unfolding right before them. By the end, they were shouting, "More! More!" It rivaled the energy of any rock concert I've ever heard.
On a personal note, hearing "Sophisticated Lady" was especially meaningful because it was my grandmother's favorite song.
This became my first five-star album of the project. I expected to appreciate it as an important piece of music history. Instead, I experienced one of the greatest live performances I've ever heard.
I came into this album expecting not to like it because I've never been a big Neil Young fan. His voice has always been the biggest hurdle for me, and that didn't change. However, I was surprised by how much I appreciated his songwriting. More than once I found myself thinking, "This would be an incredible song if someone else were singing it."
As the album progressed, it slowly won me over. The lyrics were thoughtful, the harmonies were beautiful, and several songs really stood out. My favorite discovery was "When You Dance I Can Really Love," followed closely by "I Believe in You," "Birds," and "Only Love Can Break Your Heart." "Southern Man" was also a powerful listen, especially hearing it in its original context.
This album started as what I thought would be a 2-star experience, but the strength of the songwriting gradually raised it to a solid 3 stars. I finished with a much greater appreciation for Neil Young as a songwriter than I had before, even if I still don't connect with his distinctive vocal style.
I grew up hearing many of these songs on classic rock radio, so I thought I knew Who's Next. Listening to the album from beginning to end proved otherwise.
The hits are every bit as legendary as I remembered, but the biggest surprise was how strong the deeper cuts are. Songs like "Love Ain't for Keeping," "My Wife," and especially "The Song Is Over" stood alongside the classics rather than simply filling space between them.
What impressed me most was that there wasn't a weak link on the entire album. It opens with one of the greatest opening tracks in rock history, "Baba O'Riley," and closes with one of the greatest closers ever recorded, "Won't Get Fooled Again." The fact that both are on the same album is almost unfair.
Even after hearing several of these songs for decades, listening with fresh ears gave me a whole new appreciation for why Who's Next is considered one of the greatest rock albums ever made.
I remember when Violator came out in 1990 while I was stationed in the San Francisco Bay Area during my Navy days. Everyone at my favorite record store seemed excited about it, but I was more into hair metal and R&B at the time, so I never listened to the full album.
Thirty-six years later, I'm glad I finally did.
I'd always liked "Personal Jesus" and "Enjoy the Silence," but I really enjoyed discovering "World in My Eyes," "Sweetest Perfection," "Halo," and "Policy of Truth."
The production is excellent, and every song feels thoughtfully crafted. There aren't any weak tracks, and the album maintains a remarkably consistent quality from beginning to end. I was never bored, but I also never had that moment where I thought, "Wow, this is incredible."
It's a very solid album that I can appreciate more now than I probably would have back in 1990. While it didn't completely win me over, I understand why so many people consider it Depeche Mode's masterpiece.
Nothing on the album completely blew me away at first, but every song was at least good, and I kept hearing sounds that reminded me of music from different eras. At times I heard the Beatles and Pink Floyd, while some of the heavier blues-rock moments reminded me of Led Zeppelin. Other songs sounded surprisingly close to rock that would emerge in the ’80s and ’90s.
“Buick Mackane” was the first real banger for me and my favorite discovery. “Telegram Sam” was another highlight, with a guitar sound that immediately reminded me of “Bang a Gong (Get It On).”
Overall, I liked the album more for what I heard in its influence than for the individual songs themselves. For something released in 1972, parts of The Slider sounded remarkably ahead of their time. I may not want it in my vinyl collection, but after listening to it, I completely understand why it belongs on the 1,001 Albums list.
★★★½
Favorite Discovery: “Buick Mackane”
Vinyl Verdict: No
Well that's 39 minutes of my life I'll never get back
I already knew several songs from this album, including “Drive,” “Everybody Hurts,” “Man on the Moon,” and “Nightswimming.” I especially enjoyed hearing “Drive” again since I don't hear it very often anymore.
A few of the slower songs, particularly “Try Not to Breathe” and “Sweetness Follows,” reminded me of the '70s singer-songwriter sound of artists like Harry Chapin. I also appreciated how much the sound changed throughout the album. Even when a song wasn't really grabbing me, the album never felt repetitive.
My favorite new discovery was “Ignoreland.” It picked up the pace and had more of the energetic R.E.M. sound I enjoy. “Star Me Kitten” was also interesting and different.
Overall, this was a good album, but not one I feel the need to own.
I went into Infected knowing very little about The The, and this was an interesting discovery.
The album is dark and politically charged, and I was surprised by how relevant songs like “Heartland” and “Angels of Deception” still feel nearly 40 years later. This definitely isn't an album to listen to when you want to escape reality for a while.
Musically, I enjoyed it. There’s a funky element running throughout the album that I wasn't expecting, and there really wasn't a song I disliked. “Infected” was a strong opener, and “The Mercy Beat” was an equally strong closer with a beat I loved.
I was sitting at three stars for most of the album, but the opening and closing tracks bumped it up to 3½. I enjoyed discovering The The and would listen to them again, but I wouldn't buy this one on vinyl.
⭐ 3½ stars
This was a fantastic album from beginning to end. I’ve always loved outlaw country, and Waylon Jennings reminded me why. He has an incredible voice, and the storytelling throughout this album is exactly what I love about great country music.
From the title track and traditional country sound of “Old Five and Dimers (Like Me)” to the storytelling of “Ain’t No God in Mexico,” the country-rock edge of “Black Rose,” and the beautiful closing song “We Had It All,” every track delivered.
There wasn’t one song that completely blew my mind, but there also wasn’t a single song I didn’t enjoy. Sometimes five stars comes from one or two incredible highs. This one earns five stars by being consistently great from beginning to end.
★★★★★
I guess I’m officially a Pink Floyd fan now! I loved how layered and atmospheric this album was. Even the longer songs never felt like they were going nowhere. “Welcome to the Machine” and “Have a Cigar” had some great things to say about the music industry, and learning the story of Syd Barrett gave “Wish You Were Here” even more meaning. Five stars and an easy vinyl buy!
It’s hard to believe this album came out in 1969. From the opening of “Ramblin’ Rose,” MC5 sounded a good eight to ten years ahead of their time. When “Kick Out the Jams” kicked in, I could immediately hear the sound that bands like the Ramones would later run with.
The raw live recording is a huge part of the appeal. These guys sound loud, dirty, aggressive, and completely unpolished, and I mean all of that as a compliment. The downside is that several of the songs started running together for me. They all rocked, but there wasn’t enough distinction between them. “Motor City Is Burning” was a welcome change with its bluesier sound, and “Starship” was a cool way to close things out.
At around 40 minutes, the album ended at exactly the right time. Any longer and I probably would have started checking out. I enjoyed every song, but I don’t see myself regularly sitting down to play the entire album again.
Still, this was a great discovery and one of those albums where I immediately understood why it belongs on the 1,001 list.
I went into Autobahn with a terrible attitude. Another electronic album? And the opening track is 22 minutes long? No thanks.
Then something unexpected happened: I changed the way I was listening.
This isn't an album to sample for singles. It's an experience, a complete work of art. Once I stopped waiting for conventional songs and listened to it as a soundscape, it came alive. The title track felt like driving through changing terrains. Later, the album took me somewhere eerie, then into what sounded like a dark cavern with dripping water, before the final track emerged into what I imagined as a beautiful spring morning.
Listening to Autobahn reminded me of looking at an abstract painting and finding your own meaning in it. And for something released in 1974, it's remarkable how clearly you can hear the future of electronic music and synth-heavy pop taking shape.
I immediately listened to the whole thing again. Eighteen minutes into that 22-minute opening track, I couldn't believe how quickly the time had passed.
I started out thinking I was waiting in line for the ride.
Turns out I was already on it.
Early on, I thought Brothers was heading toward three stars. “Everlasting Light” reminded me of The White Stripes, I liked “Next Girl,” and even “Tighten Up,” a song I used to change the station on, worked better in the context of the album.
Then everything started blending together.
At one point I realized I'd forgotten I was even listening to the album. Then it happened again. For an album so heavily influenced by blues and soul, I felt surprisingly little soul coming through. The songs weren't bad. They just weren't making me feel anything.
“Sinister Kid” briefly woke me up with its backing vocals, and ironically, the slower closing track, “These Days,” ended up being my favorite because it finally sounded different from everything that came before it.
I understand why Brothers stood out in 2010, when so much mainstream music was moving toward glossy electronic production. I can appreciate its place in that moment without particularly wanting to hear it again.
Yesterday, Kraftwerk held my attention for a 22-minute song. Today, The Black Keys couldn't consistently hold it for three or four minutes.
This one's just not the one for me.
I didn't need to listen to this before I die.
