1001 Albums Summary

Love this album.

I echo Boyd’s sentiments on this one - kind of monotonous, though I did dig the lofi grittiness. Extra star for copious wah wah. Probably not one I’d rush back to.

I listened to 🏴 on the way to work this morning at as loud of a volume as I could tolerate, which to be fair, was not very. It gave me the impression of a small man yelling at me from a distance. He seemed angry about a number of things. Listening caused me a measure of actual physical discomfort, which I believe would make Henry Rollins quite pleased. ** Because it was funnier than I expected (“TV Party”) and was only 35 minutes, but this was not at all for me (which I believe was the intention).

Good Times, Bad Times is the greatest kick-in-the-teeth opener of all time. Black Mountain Side points to their depth and where they’d go. **** because need to keep a star in reserve for the monumental achievements that would follow.

I could see listening to this again as a Sunday morning chill or quiet background music for dinner type of listen, but it wasn’t anything special for me because too much of it felt like generic 2010s pop. I like female r&b/neo soul when it gets a little more interesting in terms of production and composition (see: Hiatus Kaiyote). I did like the track Jupiter. This feels more like a true ** for me (should probably revise black flag down to *)

I was familiar with a few of the songs - Faretheewell is a favorite, and I went down a rabbit hole about a decade ago seeking out as many versions as I could - this one was a different take, and I missed the melody from the Van Ronk version; Everybody’s Talkin is a classic, but Harry Nilsson’s take is indelible. My favorite track was “That’s the Bag I’m in” but the rest felt kind of forgettable, like some deep cut on a Tarantino soundtrack, chosen mostly for its obscurity, and whose mystique fades when the theatre lights come back on. **

Enough has been said by others about the leap forward this album represents in their writing, performing, and studio recording techniques - and it’s true - but even without that context, this album would stand apart regardless of when it was made or who created it. RS is a treasured monument on the landscape of my imagination. Rating the album today was a good reason to finally check out the 2026 remaster - enjoyed the demos and outtakes, especially the early “Norwegian Wood”. 4.95 *’s because “Run For Your Life” is a rare misfire.

The first track came right on the heels of “Run for your life” from our Rubber Soul review, which provided an interesting … um… thematic segue. * dislike.

Somehow this album is not available on Apple Music, so I only listened to the title track, which I found on a compilation called “Mom Songs.” My head canon is going to continue to be that the song originated on Jock Jams and other 90s TV infomercial compilations, and this album never actually existed. I enjoyed this tune and I’m going to extrapolate that the rest of the imaginary album was probably a lot like this so it’s a vibe call. ***

This album is hurt by the fact that it exists in a universe that also contains Peter Tosh, Jimmy Cliff, Toots and the Maytalls, and a plethora of other reggae artists I would much prefer to spend my time listening to. If it was the only reggae album ever made, I might enjoy it more. The accent he uses in places was at first kind of distracting, but I eventually found it to be…funny? ** Because I did enjoy it more than some of the other stuff that has come up so far this week.

I really enjoyed this album. I hadn’t ever listened to it before but I was familiar with the song “Chicago” from its appearance on the Bear soundtrack (pretty sure they used every song that ever mentioned the city at some point during the show’s run). Great lyrics that are somehow both deeply personal and expansive in their range. Enjoyed the historical and regional allusions, too. Felt symphonic in its scope and ambition, and loved the range of instrumentation and the arrangements throughout. Nice turn on.

Rain dawgz is a ***** album for me. I’m totally knocked out. I knew nothing of Waits’ work beyond his versions of “Down in the Hole” and “Jersey Girl.” I’m tempted to pause the 1001 to see what other dark pearls he has left for us on the turning night alleys. He is clearly at least part carnival barker. The weirdness of the polkas and shanties first evoked a smirk, but the more I listened I felt drawn in, like I was getting a glimpse Of something that might be madness or might be genius, but that I probably shouldn’t be listening to. By Big Black Mariah I was totally mesmerized. Hang Down Your Head and Time are two that rival Springsteen in my mind, just amazing. Time brought a tear to my eye. 9th & Hennepin is a Raymond Chandler fever dream. This is my kind of weird shit. Love it.

*** for Winter in America I’ve increasingly found a place in my listening life for music like the quieter moments on this album. It can come off a little hokey in its earnestness at times, but I have a feeling with the right incense burning and some shag carpet between your toes, this album would make a lot more sense to you less attuned honkies. The band can clearly groove - wish they’d had a little bit more of a chance to - but the keys are top notch throughout, and I dig the Rhodes.

Hypnotic. I dug the production, especially the chorus/flanged guitars. I wish I could live in the first 30 seconds of “A Forest” before the band kicks in. Would listen again.