1001 Albums Summary

So much of this album I know, but because of radio and compilations, I’d forgotten the order and why that matters. Purple Haze, the forceful drums behind the guitar riff, then the bass joins in. Great intro to a psychedelic “experience”. Manic Depression - the up and down of the groove and Jimi’s lyrics convey what that emotional state must feel like. The loose strumming chord of Hey Joe, allows the drums and bass to build the tension of the story. A story of love rejected and abused, which leads perfectly to “Love or Confusion” where Jimi goes deep into the intoxication of love. Next a ballad of calm and peace, Jimi’s guitar recreates the water falling, then moves on to rebuttal to the doubters. I actually came to Jimi thru Electric Ladyland, and when I got to college, I finally got to hear this album all the way thru. This song shows how he developed his songwriting that evolved on EL. “Will I Live Tomorrow?” goes back to the psychedelic hippie mentality that flows here in defiance and declarations of freedom and rejection of the status quo’s idea of America. He’s already mastered studio effects that Led Zeppelin will use on their second album. Next is the beautiful “And the Wind Cries Mary” with his Dylanesque lyrics. “Fire” comes out swinging next. This isn’t a cute love song, this is lust seeking to explode. “Third Stone from the Sun” has more studio mixing and then just becomes this tight groove with a calm atmospheric sound that feels like outer space and inner space co-existing. This is also the longest song, and at times I could reduce its length. Where I don’t know from this listening. Now it’s “Foxes Lady” and the grinding mix of riff and soloing behind his macho voice. Coming to gitcha’. Last is “Are you Experienced?” This is the most psychedelic of the album. The effects and the lyrics create the urgent call to join his dangerous but valuable journey.

I agree with one review that Keith Relf is a weak singer. That being said, there are great songs here beyond “Jeff’s Boogie”, which shows off his technical prowess without really being a good song.. “Lost Woman”, “Rack my Mind”, “What Do You Want” are more blues/rock/r&b than the rest. It’s got some amazing material mixed with mediocre or failed/unrealized experimentation.

I’m a bit bummed because I wrote quite a bit and it wasn’t saved. This is one of my early vinyl purchases, and as a youth of the 70s, Elton John was constantly playing somewhere. “Tiny Dancer” opens with piano and the world weary lyrics that will continue thru the album. Yet “Levon” is the song that really impacted me, with the chorus echoing the parental hopes and expectations contrasted with the actual materialistic Levon who Jesus would leave behind. All these songs also show how the 70s allowed songs to go past the 3.5 minutes, with all of them except the “Goodbye” coming in over 4 minutes. “Razor Face” rocks out a bit more , but still it has dark lyrics from Bernie Taupin. The title song also has great orchestration and a nice guitar lick. The lowered mid section shifts the mood for a moment. Tormented. Glimpse that Elton’s voice seems to exult with almost gospel tones. “Indian Sunset” begins acapella then adds piano. This is the parts of Bernie’s obsession about the American west that really always surprised me. It’s funny to hear Elton sing so sincerely about people he has no idea about. Like “Slave”. “Holiday Inn” is more believable since its story could happen anywhere. Elton’s ability to bring such joy and spirit to these lyrics almost misses their negative energy. “Rotten Peaches” doesn’t offer anything new, just a continuity to the sound and tone of the album. Though the line “ you’ll pick rotten peaches for the rest of your life” before discussing cocaine seems quite appropriate though. “All the Nasties” has the gospel feel over lyrics that ask for understanding about growing up. Why my teenage self gravitated to this album, even if I didn’t groove on the gospel then as I do now. This is the only song that goes too long, with the repeated “Oh my soul” chorus. Which makes me grateful for the brevity of “Goodbye”.

I loved Mellow Gold when it came out, and I looked forward to this album. “Where It’s At” more than met my expectations when I heard the single. So I’m looking forward to hearing this again. It’s been a while since I’ve listened to it complete.30 years to be exact. “Devil’s Haircut” begins big and strong. Funky Drummer beat. Fuzz guitar. The blues riff that begins “ Hotwax” becomes a funky groove. So many samples that the Dust Brothers bring, fresh off Paul’s Boutique. “Lord Only Knows” a mock country tearjerker beginning plays into Beck’s taunting skills at mastering while making fun of the genre at the same time. Delay as a sarcastic yodel, “just passing thru”. “The New Pollution” shifts gear again with a song that would fit in on Surrealistic Pillow with a Jorma guitar riff. “Derelict” sounds like the title. It’s hard to imagine that an album with such musical talent can have lyrics of little import, but the music is much more impressive than the lyrics. “Novacane” begins with a fuzz guitar but then has a sudden disco sample. Then back to industrial fuzz guitar then another sample in a completely different mood. It’s another song that shifts and morphs at will. Samples, even something that sounds like it could be part of Metal Machine Music. Now a whimsical “Jack-Ass” which credits Dylan. Not what we expect from the title. Aah yes, perhaps the harmonica during the last minute. Now a shift to “Where It’s At” beginning with a great organ groove, which the band joins and follows. The constant “Two Turntables and a Microphone” while samples fall like rain, including the lyrics. “Minus” sounds like it could be part of early Beastie’s singles until it winds down out of control. “Siisyneck” starts with a whistled intro could be an alternative Andy Griffith. Th en shifts to a slide guitar down and out country shuffle over a funky drummer drum pattern. Laying these different genres/styles over the basic hip-hop beats gives these songs depth, but also urgency of the now. “Readymade” continues this Beck’s road lyrics with the slowed down (is that possible) samba sounds of Jobim and Mendoza just before a direct sample of sample have a strange effect. “High-Five” with rapping in a manipulated voice shifting to Tchaikovsky then back to rapping followed by the ragged voices of the chorus. Even what sounds like a BDP sample with KRS-1 telling them to turn that off. Finally “Ramshackle” with an acoustic guitar, folk sounding tune. Lyrics matching the title, put together, haphazard, ramshackle. Silent tracking for over a minute until we get a techno repetition, designed to tell us the album is officially complete. 40 seconds of the same throat clearing with telephone sounds.

While I know nearly every song on this album, I don’t think I’ve listened to it through before. So thanks for recommending it. The shift to Muscle Shoals with its unique sound really works for Aretha, and the songs, covers and originals. Work together, none of them feel slight or unimportant to me whole. Bookending the album with Otis Redding”s “Reapect” and Sam Cooke’s “A Change is Gonna Come” was a bold move, and in doing so, Aretha didn’t just put her stamp on them, she stepped into the pantheon. There is much more to say, but I’m out of time tonight.

I remember this album coming out. I was waiting to go into the Marines. I was also a punk, and preferred Black Flag and Gang of Four. However I also loved Prince. I had begun my journey into jazz with Dizzy Gillespie and Miles Davis. So I liked what I heard, even though I knew it wasn’t jazz but a soul with jazz inflections. This made for great mood music. While I prefer her third album Stronger than Pride, this album has many memories. She has a distance in her voice that can feel cold, yet warm energy flows thru it. There was nothing like Sade in 1984. The third person portrayals, which tell stories that aren’t judgmental even if they are surgically precise. Aretha was my previous listen here, and there’s no comparison as to vocal skills, but Sade’s confidence creates the ambiance that these stories deserve. The last song asks why can’t we be together? Together. It’s the only rhetorical moment of an album that maintains a detachment throughout. By the way, why Diamond Life?

OK. Not a big fan, but they have AC/DC down without the Brian Johnson screech (Bon Scott whole different animal, RIP). Good for lifting weights and getting out some anger issues. “Wild Flower” would make a good running song. I have Sonic Temple” which is similar in texture, but it’s not on any rotation except when a song from that album randomly plays in shuffle mode. “Electric Ocean” has a decent beat. Rick Ruben produced, but that brings their best assets to the front without hiding the limitations: pedestrian guitar licks and solos, average vocals, very basic rhythm section. Hard to believe this rates being in anyone’s top 1001 albums. I was reading the user reviews in AllMusic, and most call it a great rock and roll album. I prefer Highway to Hell or Deep Purple in Japan any day. I can’t get into the lyrics either, mostly macho misogyny and bravado. In 1987, I was in the Marines, and even with that mindset, I didn’t find this very interesting, even if I mindlessly enjoyed it when someone or the radio played it. I was more interested in The Replacements and Husker Du. Oh my god, “Born to be Wild” just came on. This song really shows their weakness, especially the singer, who can’t even imitate John Kay much less put a spin on it, and the guitarist just phones it in. Why did Rubin let them put this on the album. I’ve heard bar bands do this much better. I just can’t. It gets worse with “Outlaw” where they can’t even keep the AC/DC pace. Guitar wise, the last song “Memphis Hip Shake” is the most interesting, but mainly because Duffy actually overdubs some more guitar work, but the vocals and lyrics are pointless. That’s over. Next please.

Slim Shady. So much anger, so much bitterness turned into humor. Eminem knows his hip hop roots, and he doesn’t pretend to be anything but what he sees around him. These characters, Stan, Clyde , Paul, Slim Shady. These character sketches and the story behind them each imply either a sense of guilt hidden behind bravado or outright need for forgiveness and understanding even as they dis and gross out and disgust everyone they can. This is nearly 30 years old, but it’s still fresh. The chorus voice of “Rock Bottom” sounds like the exactly where the character lives.

Once again, I typed a whole discussion just to see it deleted. It has a depth of orchestration and instrumentation. Blade’s vocals float over it smoothly and rhythmically precise.

Downloaded this from a beat of list, don’t know which one. I’ve heard a few songs but never listened to the whole album before. How would this sound with an orchestra rather than a synthesizer? I like the horn blast effect of the first song. “The Bones of You” is a shift, except the vocalist.

I’ve always loved the Temptations as song artists. Whole albums that I’ve enjoyed like Psychedelic Shack or All Directions are great but have some moments, especially PS, which has getting high songs that don’t wear as well. So far the first three songs seem to hold together thematically, although “Grapevine doesn’t bring anything to the song that Marvin Gaye and CCR both sang better. Overall some great songs, not necessarily a great album as a whole.

What is there left to say about this album? The instrument forward mix, the lyrics like “sunshine bores the daylights out of me” or “you got to roll me and call me the tumbling dice”. If I only had ten albums for the rest of my life, this would be there. Even if the limit was five. Never get tired of it.

Another great album. So much to like, Flea’s funky bass, John Frusciante’s guitar in such various forms. Chad Smith’s drums. Even Anthony Kiedis’ vocals work and his lyrics can be forgotten mostly with a few exceptions: “Lovely Man”, “Breaking the Girl”, “Under the Bridge”, “I Could have Lied”. The music was always what made this their best album. John left after but returned later. They were never the same. “Funky Monks” may be my favorite with the false ends, the funk and blues blurred well.

I have loved Al Green for decades, and I saw him once in Costa Mesa, which was one of the most sexy and sensual performances I’ve ever seen. This was one of the many of his albums I have. It’s not my favorite, probably Call Me or Greatest Hits, but it’s an amazing album. The production of Willie Mitchell with a solid groove, horns aplenty, and then Al singing, squealing, growling but all the same relaxed and confident. “How Can You Mend a Broken Heart” surpasses the Bee Gees original, you might think that they covered Al rather than the other way around.

Wrote some notes and they disappeared.

OK, so this was in heavy rotation for me in the ‘90s. Good driving music, good party music, great in the headphones. “World in my Eyes” opens it. All techno, no instruments, yet like Yak and Haircut 100 very human, unnatural in a manmade way that still has soul and spirit. Dave Graham’s vocals make this possible, but Martin Gore learned from Vince Clarke. Graham isn’t Alison Moyet, but he gives the human touch to Gore’s synthetic sound. There’s no Stephen Morris to provide drumming, just drum machine. “Sweetest Perfection” is beautiful and followed by the sarcasm of “Personal Jesus” makes this more than just sound effects. Love the Johnny Cash cover of it. “Halo” in reverse.

Hate to admit I’ve never heard this album. Steve Albini has been associated with so many records I’ve loved. I like that the vocals are more buried in the mix than Exile. You search to hear them and the search is well worth it. Kerosene feels like my small town life. “There’s something to do…” First

One of my favorite Miles.

“Walk on By” just takes Bacharach around the corner. This album does this consistently. The guitar, organ, and horns define the funk to come. Four songs each clocking in overtime and laying down a groove that holds up throughout. After writing songs for Stax that others like Sam & Dave sang, Hayes stepped out from behind to produce a deep voice that flows smoothly over every song.

Some good beats.

What an amazingly beautiful and tortured album. Without the lyrics, the music and vocals are gorgeous and world weary. The lyrics torment you.

An amazing experiment. Evidence of the musicianship and adventurism of both Bowie and Eno.

The second of a streak that has never been surpassed by an individual artist. Even if you leave out “You are the Sunshine” this is an untouchable album. “Maybe your Baby” the funk is strong here.” “You and I” a beautiful love song. “Tuesday Heartbreak” funky and when you listen to ha organ, just amazing. “You got it Bad Girl” just try to stay with any one instrument and not get distracted by the others. Then of course a funk classic “Superstitious” with the horns shifting smoothly to “Big Brother” keeps the theme but narrows it to politics. Distance doesn’t fade understanding. “Then then the beautiful “Blame it on the Sun” where forgiveness is just transference. “Lookin’ for another Pure Love” the first of two songs of hope and possible redemption. Ending with “I believe when I fall in Love” The middle shift to funk “Come on…” is so in line with the dream. It’s one of my top ten albums of all time. The guitar play in the background between Jeff Beck and Buzzy Fenton with Beck’s near perfect solo is at the top of guitar duos of all time.

I didn’t realize how short this album is. Some great songs, “Sweet Baby James”, “Country Road”, “Steamroller” & “Fire and Rain”. The warmth of music and his vocals hides the bitterness and pessimistic lyrics.

One of my favorite Floyd albums, and with such beautiful music. The tribute to Syd Barrett is touching. Some of David Gilmore’s best guitar work. Roger Waters best song writing.

My French brother-in-law would love this, and since he’s a singing thespian, I’m sure I’ve heard him perform some of these. Drama plays a heavy role in Brel’s performance here. Surprised “Ne me quitte pas” isn’t in the set. The sparse music behind him adds to the show tune quality.

TLC held a large space in the 90s soundtrack. This album laid out new girl group territory that only En Vogue matched in any way. Baby Face and Lisa Lopes provide some great music and lyrics. “Creep”, “Waterfalls”, “Kick your Game all have the elements of the title of the album. Their cover of Prince is derivative and doesn’t add anything to the song. And the toilet joke interlude after sucks.

Big Black Keys fan, and this was my first cd of theirs. Great stuff. Varied vocals, and exciting guitar work.

First of all, the Marriott guitar power chords come to the fore on many of these songs, showing the cross fertilization between Small Faces and The Who is obvious. It’s easy to see why Kenney Jones was the choice to replace Keith Moon, even if it wasn’t as successful as hoped. Saw The Who in 82, and they still gave a spirited performance with him, but the differences were glaring. He’s a more disciplined drummer, which isn’t a disadvantage, it’s just not Moon. The referential effect of Pepper is obvious only in the “concept” album format. Some great singing and playing with a more working class mentality. You can also see why Ronnie Lane eventually worked with Townsend on “Rough Mix”

This album brings back memories. It’s my first exposure to Winwood, then realizing I had heard him from Traffic and Spenser Davis on the radio. Some of the 80s production and reliance on synths hurts the sound, but besides the hits of the first two songs, the real gem here is the back to back of “Spanish Dancer” and “Night Train”. “Spanish Dancer” has such a foreplay mood to it. “Night Train” takes it all the way. Strong guitar work is sometimes hidden by the synth heavy mix. “Dust” feels anticlimactic afterwards. Still an impressive work of his multi-instrumentalist talents, although I prefer Back in the High Life of his 80s albums.

What is there left to say about this album? Bloomfield’s guitar. Kooper’s story of sneaking into the studio sums up this: everybody who cared about music wanted to be there at the moment of creation of this. Slogans from lines linger in our dialogue. One of my favorites is “well you know something is happening, but you don’t know what it is, do you, Mr. Jones” and “I’m in the kitchen with the tombstone blues”.

Great guitar rock. Having not heard this thru in decades, it has aged well, even Rose’s vocals. Adler actually swings more than most heavy metal drummers.

New album for me. Always liked Siouxsie and this shows me that her early work was amazing. Great guitar and rhythm section. Will have to find this for my collection.

Interesting album I’ll be coming back to. I have Haus der Luege, which is different. Machine noise mixed with warped melodies familiar and others foreign.

For me, this is one of the best of the Doors. The blues, the Dionysian lyrics, the pure Southern California tone. The bass lines push every song, something no other Doors album has. I don’t listen to the Doors as much as I did, but they certainly measured how I think about rock and roll. Also, as with every Doors album/song the playing feels improvised and in the moment.

First heard Youssou N’Dour thru Peter Gabriel, but I have many of his albums including this one. His voice is always calming without being bland. No idea what he is saying and just treat his voice as another instrument. Also the guitar work feels almost like Bachata guitar at moments. I always love when this comes on thru my random shuffle mode. Always fits the mood.

Some artists make one or two albums that are so amazing that people wonder why they stopped or couldn’t repeat the process. Lauren Hill produced an album that speaks to anything and everything. This hit hard especially after The Fugees. Who cares if she never produces anything else? Most artists would be proud to have such an accomplishment. What a masterpiece.

I was so over Michael Jackson by this time. Thriller had been ubiquitous in the 80s, and I was just done. I’m not sure I can listen to this from beginning to end. Where are the grooves? Compare the groove of any Bad album song with Prince in the same 1987-88 period: Sign o’ the Times, Black Album or Lovesexy. No comparison. In 1984 Prince put out Purple Rain and MJ put out Thriller. 3 years later MJ gives us this, while Prince has made Around the World and Parade then Sign o’ the Times. I’m just not impressed. Liberian Girl is just lame. Speed Demon is just fast with nothing there. MJ doesn’t even sound interested in the Liberian girl or anyone else for that matter. Bad? Really? Janet’s Control was a much better dance album. Stevie Wonder can’t salvage Just Good Friends. Does MJ have an amazing voice? Absolutely. It’s just too bad he couldn’t come up with better material. Where is his What’s Goin’ On or Talking Book thru Hotter than July? Please he couldn’t have been so much more than he chose the route of superstardom and record sales over message. Man in the Mirror is his message. Compare that to A Change is Gonna Come or Freddie’s Dead for that matter. MJ wanted to be among those ranks, but he fell way short. Too bad. Every song is an attempt to recreate Thriller. Dirty Diana is just a Beat It step into rock without Eddie Van Halen. Dirty Criminal is Billie Jean. Just before this entry was The Miseducation of Lauren Hill. Wow. I’m supposed to consider these two albums as equivalent importance? Nope. God the last song finally. Yes, Michael, leave me alone.

Pure anger and violence. The rhythm section steps off solidly throughout, and Dimebag Darrel lays down some heavy riffs. The vocals growl and rage, even a love song is just pissed off. Great weightlifting music: testosterone thrown around like a hardcore mosh pit.

Interesting shift. Never heard this. Very late 90s, but with more reggae/soca vibe. Voice has range, but he sings in an almost deadpan. Deliberate? Good bass lines and intriguing and groove pushing guitar as well. He just sounds like he’s phoning it in.

Seminal grunge band that this album captures at their early stage. They moved beyond this with Piece of Cake, The music is raw and sounds like side 2 of Black Flag’s My War.

The title song is amazing. Dolly is an American treasure. This was one of her albums that began her break from Porter Wagoner, even though he writes several songs. “Traveling Man” is fun. There is a victimhood that threads thru this. It’s interesting for someone who stood for women’s rights and for the LGBTQ community. The bass line in “Early Morning Breeze” pulls that songs whimsy along with its strong walk.

Interesting vocals, but I prefer Antony(Anohni)’s voice. There are some good songs here, and she does go into the challenges and joys of being trans. Anohni just feels more universal, which I prefer. Clearly from the comments in the YouTube videos, she has a strong impression on trans people. Enjoyable if not particularly conducive to repeat listening for me.

Great guitar slashing over a bruising rhythm section.

Soon as I saw this was the next album, the chorus of the title song began to blare in my head. Music generates memory, and that song goes way back. I’ve never heard this album from start to finish, even though I have some of these songs on various disco compilations. “Greatest Dancer” has a hot guitar kick and a fun chorus. “Lost in Music” yes, that’s what music does, loses us in the memories of our past, real and remembered. Beautiful love song in “Somebody Loves Me”. Another great guitar groove that the bass supports with a walking line in “Thinking of You”. Rodgers & Edwards production writing and playing governor a Chic vibe, but the Sisters Sledge bring great vocals that take it to another level. “Easy to Love” is another groove, smooth and sensual. Ends strong with “One More Time” which has a strange but strong guitar solo. There’s a clear reggae link in the guitar chording on all of this.

Not what I expected. I have Bradley’s Barn, a Nashville sound scape. Here is a psychedelic era album with some really good orchestration and individual songs from very different styles, but anchored by the vocals. “Are You Happy” and “Painter of Women” have strings, “Only Dreaming Now” has an accordion. “Magic Hollow” uses a harpsichord and is absolutely beautiful. While Valentino’s voice is distinctive, it’s dated. It remains the most connected to the psychedelic era and I don’t really appreciate it. Even though the lyrics he songs are amazingly effective anyway. “Wolf of Velvet Fortune” also feels like a predator moving through brush. “Old Kentucky Home” is a hilarious surprise.

Much has been written about the chaos and sexual tension/broken relationships as this album is made. I’m amazed at the cohesion. This is a tight working band. The McVie/Fleetwood rhythm section remains among the best, and both Buckingham and Christine McVie are solid musicians. It’s the vocals and harmonies that carry this as much as the band. Their harmonies are as important as the Beatles or Beach Boys. When they sing solo, each singer brings personality and spirit to their songs. “Don’t Stop” epitomizes the harmonies, with Buckingham’s vocals as integral to the song as the songwriter/singer McVie. Strong songwriting as well. As a teenager, the relationship issues behind the songs were beyond my understanding, but whether “Go Your Own Way” or “Dreams” or “You Make Lovin’ Fun” these songs clicked in my head, even as I was first shifting to punk. “The Chain” is on another level, musically, musicianship, lyrically, vocally, spiritually. The building tension. Hearing the way Lindsey and Stevie’s voices call and respond. Then McVie’s bass line coming in followed by Fleetwood and Byckingham respectively. A guitar solo that truly captures the essence of the song. One of my all time favorite songs.

You can’t listen to this once and begin to establish a baseline of understanding. There are depths to be plumbed. Musically the time changes, bridges and complexity of instrumental combinations. The lyrics, dark and sinister, like our darkest and most obscure internal spaces.

This really is an album for late at night and introspection. Bowie leaves us and this realm at ease and reflective of the universal truth of death that we all share.

So she samples Traffic on the first song and then lists a long list of singers of the past with much more depth on the second. She has a stronger voice than I expected. Just namedropping doesn’t put you in their league. I like the guitar riff on the third song. The repeated use of “antique sound effects to shift between songs gets old even for an album titled Back to Basics. The beats get predictable and the lyrics are too self-absorbed for me to appreciate. Faux sax and horn synth groove is fun on Still Dirrty. The song with fans leaving messages is beyond gratuitous. Side tow takes the short interludes of the first side and turns them into full length attempts at “old school” songs, whether swing, blues, or hot jazz, it’s all about being a bad girl, trouble, or sex object.

I’ve spent time listening to this album and find it to be one of their most rewarding. The near jazz or improvisation sounding guitars and organ feel loose, even if they’re clearly planned out. “Bodhisattva” and “Razor Boy” have sharp lyrics that match the music. Even the non-hit songs like “Show Biz Kids” and “My Old School” capture moments with the chorus of “go to Lost Wages” from “Show Biz Kids” especially biting. Jeff Baxter’s steel guitar on “Pearl of the Quarter” almost feels more Nashville than New Orleans. “King of the World” finishes it off nicely.

This remains one of the most influential albums few people heard when it was released. Rarely if ever gets played on classic rock stations that play music that imitates or possibly learns from it. “Sunday Morning” opens with a breezy sound and fatalistic lyrics about waste and missed opportunity. “Waiting for my Man” about waiting to score in Harlem. “Femme Fatale” with Nico singing as the persona as much as the described. “Venus in Furs” again a drug haze with Cale’s violin torturing the grinding chords of Morrison and Reed. Reed’s vocals so morbidly monotone. The summer of love already falling into drug addiction and lost momentum followed by the chase of “Run, Run, Run” as they follow their addictions into the paranoia of the counter-revolution. Nico again with “All Tomorrow’s Parties” and her gothic voice that would give wind to all the gothic music sails that would follow. These are mostly thematic structures, but then we have the music as well. The barroom upright piano chording behind Cale slow- walking bass lines and the guitar noodling sound (I have no technical term and don’t mean this derisively) as it plays a series of single and double notes that don’t sound like a chord at all. “Heroin” another trip through the drug world. I’ll have to take Lou’s presentation of what it feels like, because I’ve never used. He certainly makes it sound both enticing and desperate at the same time. The misogyny of “There She Goes Again” comes from the voice of the dealer, taking advantage of the lost. Nico singing a beautiful “I’ll be Your Mirror” comes across as a beautiful voice of Exho, lamenting over Narcissus. “The Black Angel’s Death Song” with more Cale violin and Reed riffing lyrically like Dylan. More heroin death wishes/near death experiences that invigorate the narrator even as it horrifies him.

As a junior high kid, I listened to War all the time, especially the “Why Can’t We Be Friends” the LP. Got to see them early in the morning at Farm Aid 2 in 1986. Amazing band. This is an album I came to later though. I had heard the title song, but not the whole album. “Cisco Kid” was another favorite of mine. The mix of funk and Latin rhythms and instrument choices are so cool, along with the goofy story of the lyrics. “City, Country, City” is a great jam, and “My Four Corner Room” is a kind of funk paranoia. The title song also has a solid groove.Lyrically important in that early 70s social conscious funk and soul of Gaye, Mayfield, Wonder et al.

I had been a LL fan since Radio, but this album, the "Comeback" really takes him to a new level. Marley Marl's grooves and beats come hard, and LL matches with some of his best lyrics and toughest poses. "Boomin System" "Cheesy Rat Blues" and title song are all bad. "Milky Cereal" shows his skills with found poetry. "Power of God" finishes this hard. The bassline and the guitar riff are tight.

I can remember the one hit that they had here in the states. Mostly this album is very much the same, but it does have more of an r&b feel. The intro begins with a radio being moved across the dial from static to a short history of 70s radio, Deep Purple to Sex Pistols then the first song opens. Most of the songs are blighted by the vocals, which is annoyingly whiny. An exception would be "Thankfully not Living in Yorkshire" where the whiny voice goes into falsetto over a banging groove. The horns and rhythm section are tight. I just don't groove on the vocals at all. The lyrics are fun, but nothing that sends me over the edge. Maybe I'm not British enough.

Begins with a big chunky guitar riff and Aladdin Sane erupts with "Watch that Man". Next we get the piano abstract title song, with clear efforts to be less than sane. Why 1913, 1938, 197?? Perhaps the year before WWI & WWII and what Bowie thought would be WWIII? "Drive In Saturday" feels like an attempt to capture the American youth horizon that Bowie never knew in Britain. "Panic in Detroit" another Ziggy era big guitar sound. I haven't heard this through in years, and I remember how individual songs hit hard, but the album itself lacks direction. Bowie between changes. "Cracked Actor" has another great guitar riff, but beyond the misogynistic lyrics, not much to offer. "Time" is another piano driven song. So is "Prettiest Star". Bowie was never a great cover artist. "Let's Spend the Night Together" shows that in spades. The Jean Genie rocks though. So does the last song, "Lady Grinning Soul".

Once again my notes were lost, but all things Fela are amazing. This one, from the cover image to the songs "Zombie" and "Mr. Follow Follow" demonstrates Fela's cathartic rhythms, charismatic vocals, and politically charged lyrics quite effectively!

The first track sets the beat, and if it’s still the 90s and I’m in a club on MDMA or ketomine, I’m impressed. Otherwise it feels like a time capsule that one song coming up on shuffle would be cool. Can’t imagine wanting to hear this straight through again.

Adele seems to have an infinite well of heartbreak, and these songs all go deep into that well. It's not bad, and she can certainly move from style to style, whether a piano ballad or a driving beat, she sings hard over the notes. She has a charismatic voice. It's hypnotic and the pain becomes more than just love lost, taking the listener to a cathartic moment. For 25, she seems to be obsessed with having grown "old" and wiser. I remember on 21, she covered the Cure's "Lovesong" making it her own, giving it the unrequited love the lyrics deserve. Unlike 21, this album relies more on piano ballads and not more diverse styles. She's got a voice, but what is she using it for?

Blur is a band that I haven't had much exposure. However, when I have been exposed, I like what I hear. "Boys & Girls" hits off as a fun song about summer fun. This is the 90s, and I was more into jazz at this point, so I wasn't really listening to anything new coming out. "Tracy Jacks" is ok. "Parklife" is funny. The first really good groove I hear is "Bank Holiday". Back to work! Damon Albarn's voice is nasally in a typical British way. This is guitar band like early Radiohead or even Oasis. However the Kinks and Ray Davies have a big influence that Radiohead never had and Oasis wished they had. The oompah of the "Debt Collector" becomes a transition to a more psychedelic sound, "Far Out" aptly titled. "To the End" has a good bassline, and begins with a lyric that implies an ironic look at the society around him. "London Loves" not about a love affair, but about people struggling with meaningless jobs and looking for love in one night stands. "Trouble in the Message Center" another song about meaningless jobs. "Clover over Dover" is a ballad of sorts, but not very interesting. "Magic America" starts off strong, but these beats are kind of slow. I'd expect a little more force to them. I've heard some of ParkLive, the live version, and they play this with more speed and power. "This is a Low" doesn't get me very far. I'm just not that interested until the end when they actually use the guitars to play a bit stronger. "Lot 105" another instrumental to take up out initially then a lalala chorus.

Once again, I lost my notes, but this is not an album to listen to with headphones from beginning to end. It has some decent songs, "Red Alert", but this album is made for the dancefloor not sitting in my room .

i lost touch with Paul Weller after Style Council, but then got back into him later with his first solo album in 96 or so. Haven't heard this before, but it begins well with "Sunflower" "Holy Man" and the title song. Then he gets r&b with "Instrumental" with a Traffic of John Barleycorn era feel. The sound is less mod and more rock influence. "All the Pictures on the Wall" reminisces in a beautiful song, lyrically and musically. "Has My Fire Really Gone Out" is a nice rocker with some guitar work and a mix of psychedelic sounds. "Country" has a nice Neil Young Harvest feel. "Fifth Season" is another great song. Got a funky guitar riff with a strong bass line, very. R&B. "The Weaver" is another rocker. "Foot of the Mountain" has another Traffic feel with a Winwood vocal appreciation. The lyrics of looking at tasks at hand. "Shadow of the Sun" comes on strong with a nice guitar solo mid song. The last song "Hung Up" really must be one of his best songs, post Jam, if not overall.

One of my top five albums of all time.

Anything with Dave Rawlings on it will be worth the listen. “To Be Young” starts it off well. I really like “Amy” which feels like a Love, the band, song. The Emmylou Harris debut puts his vocals to the test, and while he’s not Gram Parsons, he stands up to the test. “Damn Sam” hits the right notes. This is an album I need to hear again.

As the title suggests this is dark, broken relationships territory. The lyrics are literate and thoughtful, but the techno-pop music may match the mood, but it is too processed for me.

Ana mazing listen. An album designed and recorded to be heard in totality. Amazing from start to finish.

An amazing album, with so many songs that I've heard a thousand times. Hearing it all in order again, listening to the way his lyrics have expanded into the universal. Dylan had great songs before this album, but this began his most vital period, or maybe the first of his vital periods. Not as powerful as Blonde on Blonde or Highway 61, but of the same caliber. Subterranian Homesick Blues, Love Minus Zero/No Limit, Maggies Farm, all have individual lines that I can spout at moments to capture the mood perfectly of the issue at hand. "Don't follow leaders, watch the parking meters" cause I "Ain't gonna work on Maggie's Farm no more."