1001 Albums Summary

Amazing! Bluesy, dancing! A piece of art!!

I’ve lived peacefull moments listening this album. Incredible! One of the bests!!

I didn’t know this band. When I heard the first not I knew that I’d love. The whole album have the same vibe. It is incredible! Edit1: I was looking the history of this band. They were one of the first bands ever to mix black and white people. Amazing!

Boring 🥱 Lady Jane is cool song. The whole album have an annoying acoustic guitar tone. Mick Jagger is annoying. The first 2 stars album

Very good! Classic blues tone. After a bad Rolling Stones album, I could experience the other side where there are good things. Gimme shelter, love in vains and closing the album with You can’t always get what you want. 4/5

This album is good. Dense songs, but sometimes it is too repetitive.

Dusty in Memphis isn't my favorite style, but it has a great swing and her voice is awesome.

Good and original punk! Very authentic sound!

This sounds a lot like Brazilian sertanejo — same close two-part harmony, same rural tragedy songs. Loved it.

I understand what this is going for: the songs deliberately refuse to behave like songs. The problem is that the ideas keep getting in the way of the music. Every voice crosses, every meter shifts, and none of it earns its place. Clever, and exhausting. The worst record I’ve listened to so far.

One of the great Brazilian albums. The production is superb: everything sits exactly where it should, and the whole band — percussion, bass, that electric guitar — moves as a single body around Jorge’s voice. Nothing is decorative. Samba, funk and rock fused so completely you stop hearing the seams.

This one caught me off guard. It's a sad album. you can hear it in the pacing, the way everything sits low and unhurried. But it never asks for pity, and it never stops moving. The groove is always there underneath. I kept getting pulled in two directions at once, and that's exactly what I liked about it.

Hip hop isn't a genre I usually reach for, so take this for what it is. What got me was the anger. "It Was a Good Day" works precisely because nothing happens in it. Solid, and I'm glad I heard it, but not a record I'll return to often.

This one slid past me. Nothing to dislike. the guitars are beautiful and the drumming has more drive than I expected from this kind of record. but nothing stuck either. I suspect that's on me rather than the album; it seems built for repeated listening, the kind of thing that opens up slowly. I'd give it another chance.

Much more than a pretty folk album. The harmonies are gorgeous, but what stayed with me was how much is going on underneath — the counterpoint on "Scarborough Fair", the coldness of "The Dangling Conversation", and that closing track where the news slowly buries the carol. Not every song lands, but the best ones are excellent.

This is one of those records that rewards you at whatever level of attention you give it. Let it run in the background and it's beautiful, unobtrusive, oddly comforting. Sit with it and you start hearing how carefully built it is — repeating figures that shift under you, folk instruments and chamber strings arranged into something that belongs to no genre in particular. The long central piece could have been tedious and isn't. What keeps it from full marks for me is that a few stretches do drift by without leaving much behind. But the mood is unlike anything else I've heard on this list

I spent more of this record tense than engaged. Tracks take forever to become songs, the percussion scatters in every direction, and there's a horror-film unease running through it that I never shook off. The calm moments are the ones that landed — "Book of Saturday" and "Exiles" are genuinely beautiful — and the bass playing throughout is excellent. Not enough to carry the rest.

The rhythm carries everything here — the guitar dances rather than leads, and the voices lock into it like another percussion line. It's blues and West African music at the same time, though calling it a mixture undersells it: they don't sit side by side, they're the same thing. Sung entirely in local languages, which only makes it land harder. Unique.

Following Thriller was an impossible job and this doesn't quite manage it. But it doesn't embarrass itself either, and a few tracks stand with anything he ever did. The sound is tougher: less warmth, more machine, everything sharp-edged and 1987. What carries it is him. The phrasing, the timing, the way he attacks a line — nobody else does that. "Bad" itself is a punch in the face, and "Smooth Criminal" and "Man in the Mirror" prove the range is still there. Not his best. Still brilliant.

Disappointing, given that new wave is usually right in my wheelhouse. I can hear what they're doing: the cold synths, the deep vocal, the bass doing something unusual, but none of it grabbed me. It slid past without leaving a mark. Style without much underneath it, at least on this listen.

Marvin is untouchable as a singer, and this is the most physical record I've heard from him: sensual, slow, made for the end of a date. The songs themselves didn't strike me as great, but the groove is so warm and so consistent that it pulls you in anyway. A mood more than a collection of songs.

You can hear the influences pulling at this from every direction: electronic rhythms, jazz, a vocal that's all melancholy. "Pyramid Song" is the moment it works — the piano sits in an unsettling place and the tension holds for the whole track. The rest didn't give me much more than texture. Interesting, well made, but ordinary in the end.