1001 Albums Summary

Very on-the-downbeat, Caucasian, milquetoast music. They executed the idea well and I'm sure it had its place in the history of pop, but it doesn't do much for me Well-written songs, not to my taste. I bet they sound great in a car

🤖WE ARE THE ROBOTS🤖 Charming, silly, but lacking in funk. More rhythmic diversity would be nice. I'm guessing they get more credit (than they deserve) for being the first to do it (with synths). I do appreciate that they left a lot of space in the lyrics and arrangements for a listener's mind to run in.

It's full of the stuff that makes the Beatles so lovable. Too full, actually. There might be a 5 star album in here if it shed some sillier songs. Excessively self-indulgent at times, and brilliant at many others. I'm very glad it exists, but I won't hold it close

zoom zoom zoom I think this is a rare combination of catchiness and spacious jamming. I really like the vocals on 4 & 5, but the instrumentals are also excellent throughout. I think they managed to make a cohesive album while including plenty of variety (something I value highly). I also tend to prefer music that prioritizes the sound over the lyrics, and I think that is done here

prime example of lyrics>sound. The instrumentals are pretty boring to me. I'm sure they were much fresher in '79 blah prime example of how music declined going into the 80's

my high school French teacher was a fan of MC Solaar. Probably because his pronunciation is good. It's too bad I can't appreciate the wordplay. There isn't much else of interest. Hasn't aged too well

James Jamerson on bass! (He only used 1 finger) This record has soul, heart, spirit, it's groovy, and it has stood the test of time. There is a unity and distinctive sound to it, despite how relaxed the studio sessions were. What's Going On elevates my mind, but I also feel it immediately in my body (a rare combination in music)

You can't say there's not a lot goin on here. I wasn't really feeling it over the first half; I thought it was too messy, abrasive. But the second half won me over. I love the incorporation of drum machines, the yodeling on Spaced Cowboy (genius) and killer bass lines. Oh to have been alive during the explosion of creativity in the early '70s. I know there was a lot of pain, and we are all lucky that cats like Sly could transfigure it as funk.

lyrics>sound doesn't appeal much to me on first listen

I didn't think I was going to like it because the style is very casual and silly at times, but I found myself enjoying side 2 for the same reasons that I love "Perfect Day": it's genuine and human, which makes it disarming even to the most cold, critical gaze. Not my typical go-to, but worth a listen, I thought. Also it works much better as group listening than myopically metered through headphones.

Refreshingly different from everything on this list so far. Different instrumentation, different vocal delivery (just listen to the first few seconds of the last track), and different subjects. When it's not giving schadenfreude, its everywhere from the fun of a circus to the glum of watching a drunken vagabond dance. Terrific storytelling and worldbuilding. I would give it a 4 if I was rating objectively, but instead I subjectively give it a 3 because I don't think its an album I would go back to often.

They're really showing the bias of this list with this album - a bias towards this era of rock and roll There's nothing special about it. I could think of many superior English rock bands from this time that were similarly inspired by the Blues. The hit "Bang On" is alright, and none of the other tracks seem to have the same quality of production. Certainly none of the others are able to grab my attention.

While it's not a genre that I typically enjoy, I did appreciate the playfully layered vocals and despondent harmonies. Musically it just doesn't do much for me. I imagine you need to have a strong emotional connection with it. Some of the lyrics were evocative and it's nice to have a female vocalist for a change in timbre and artistic perspective not my cupa tea init

I love the Ladysmith Black Mambazo contributions. All of the African bits are great throughout. "Diamonds on the Soles of Her Shoes" and "Homeless" were already beloved songs for me for that reason, but I was happy to discover more. It's interesting to have zydeco in there too. I'm not sure about the right word for it, but a few tracks (notably "You Can Call Me Al") rub me the wrong way. Maybe its corny? Anyway I really enjoyed these tunes on a beautiful bike ride yesterday. I imagine they're even better in the summer. I might give it 4.5 if I could

Schmaltzy, but as good as schmaltz gets I find it really difficult to rate this... 7/10 feels right, so I can't decide between 3 and 4. I can't deny the greatness, and I find myself enjoying most of the songs, but I can't say its a favorite. It also feels unfair to rate Elvis without the aspect of live performance because that was such a large part of his brand

I'm sure this album has something to say, but I can't pick it up on the first listen. I also weigh my judgement of music much more heavily on the immediate sound than on lyrical content and this sounds... ok

it's challenging to listen to singing like this for an hour

Led Zeppelin was some of the first music I remember listening to by choice (along with Weezer, Gorillaz, Kanye West, Smash Mouth, The Who). It must have been Dad's CDs which were Led Zeppelin IV and Mothership. Plundering Dad's collection was a pretty special way to explore music... Anyway, I think I liked it a fair bit back then. It may have had a significant impact on my drum-set playing. I still think that Bonham was one of the greatest drummers ever. Today, I enjoy a lot of these tracks despite being familiar with some of them longer than I've been with almost any others. The distorted guitar and bashed drums still hit. But there is a staleness for me too, and it doesn't help that their sound has been tainted by its use in American car commercials... so its a light four for me

there are some absolute titans on this album. "Bridge Over Troubled Water" is verging on saccharine, but I think it's only suffering success because it's played so much. If you heard it for the first time it would blow you away. El Condor Pasa is one of my favorite songs ever. I think The Boxer has an even better claim to be a greatest song ever written. There are weaker tracks, but it doesn't really matter because of the duo's vocals and such a high standard of song writing. It's hard for me to take an objective look because these titans have been with me for as long as I can remember, but I don't mind

Track #9 "Don't" was my favorite for leaning into the mess, and the transition to Track #10 is a funny contrast. While I appreciate some of the guitar work, and I imagine it was pretty cool in '88, once you've heard a few high school bands it's hard to be impressed by this sound. There isn't enough contrast. My ears get lost in the wash of guitar distortion

The recording can barely contain those horns. Wow. I think the second half is stronger though. First half is kinda forgettable and not my preferred style of Charles. It is the great Ray though, and his brilliance shines through

good example of why I think 90s music is inferior. Also makes me question the criteria for getting on this list. Being British? the vocal delivery rubs me the wrong way

It's either this or Songs In The Key Of Life that's Stevie's best album. Working in this one's favor: there are no weak links, it feels like a consistent story, almost a musical. Innervisions inspires just that; it makes you imagine scenes, characters, visions. Like with What's Goin On, I'm amazed that there can be elevated music that is also so immediately accessible and enjoyable. I have no critiques, only gratitude

they created some cool atmospheres at times, but it didn't win me over

it's tasteful, it's classy this might be the pinnacle of big band jazz. these great arrangements provide plenty of contrast that make the whole album enjoyable - from frantic swingin to relaxed groovin

Really difficult album for me to rate without bias. I don't think anyone really rates objectively though. I absolutely love singing these songs. Some of them are pretty simplistic, mostly pentatonic, which makes them great for learning and singing along, but it also becomes a detriment at times (especially on "Oliver James" my least favorite) So if I were trying to objectively critique the album, which is not really what I've been doing, it might be a light four. But I happen to love it (Not my #1 FF album, maybe 3rd) Fleet Foxes made a sound that makes me imagine a band of bards travelling through a forest. They kinda sound medieval and fantastical without trying too hard. I have never heard anything else that makes the same impression

I liked how playful it is and I wanted to get into it, but I found myself unable to enjoy it moment to moment. Probably mostly because of the main singer's voice. Maybe it deserves another listen but it didn't make me want to return

uuuuuh I like the darker, weirder parts of the album, but the more straightforward stuff is everything I don't like about 80's music. Too white, no syncopation. But because of some interesting ambiences and storytelling I may want to revisit this. For me, 3 stars means something I might listen to again I'm usually not that impressed by dissonance, but they make some impressive dissonances. I don't know if I like it much but I'm intrigued.

hmmmmm. I really like the variety of instrumentation and style. Its a great collection of stuff. Kinda like the Beatles White Album, I think there would be a great album here if not for the extra songs that disappoint me. I tend to like the instrumentals, the parts without vocals, more. There are some really neat bits that give me a sense of wonder and then I'm let down by an average sounding late 90's Alt Rock track. Least favorite track: Disillusion Favorite track: Once Around the Block

cringe

I tend to want variety in what I'm listening to day-to-day: changing up the genres and such. I'm getting tired of listening to white dudes. That being said, the second half of this album was refreshing thanks to the cumbia, dub, robots, etc. When the Mexican horns and accordion hit on "Across The Wire" . . . what a relief! I didn't care for the singing, but I enjoyed the percussion, strings, and that ever-welcome slide guitar.

I like the noise painting on "Water" I like the spoken word poetry on "Something In the Way of Things" About half of the tracks are just mediocre, some with pretty boring beats. Maybe it's a historically, culturally significant album? Otherwise it seems average

What in the fuck was that, Kanye? I told you to do some shit for the kids... Similarly to Innervisions, this album feels like a musical/story and at the same time has nary a bad track. There are very few albums which achieve both. I don't feel like I need to say much, because many people agree it's one of the greatest albums of all time, but ... what an amazing debut record. I kinda feel like I grew up with it because it's one of the CDs I remember having from the first. And it sounds even better to me now. There are fantastic performances (notably from J. Ivy on "Never Let Me Down"), super-fresh production, and tons of fun wordplay. Was Kanye the greatest musician of the 2000s?

I never saw much appeal to the Ramones and I still don't. I imagine they get a lot of credit for starting punk and probably had some fun live shows. I can tell they had a good sense of humor. But musically I don't find it very interesting and it's certainly not something I'd choose to listen to. Sorry dad

I wonder if there's an album from the early 70's that I don't like. I mean I'm amazed at how much great music was being made at once. There must have been a perfect storm enabling artists to create without having to be corny like the 80's or grungy like the 90's. Anyways... This album is super listenable, executed very well, and only really lacking in breadth or ambition P. S. I can really hear the influence Green had on Darondo, a more recent singer

"Coles Corner" is a decent song. Often a simple song is better at making you feel something. "Hotel Room" reminds me of Santo & Johnny. And like their vocal-less music, this one could have done without vocals and more pedal steel I do wonder if I needed to hear this before I die. Makes me wish there were more records here from countries other than the US and UK. That being said, I enjoyed it somewhat. There's emotional potency at least. The last track was nice, a bit of ambient which we haven't had yet.

I like "A Day In The Life Of A Tree" of course I also really like the production on "Student Demonstration Time" it's really pumpin It's nowhere near Pet Sounds though. There's a bit too much of the corniness that the Beach Boys had in their early years present here.

I really like one Johnny Cash song, but after listening to a few in a row I get bored. They're all the same song dammit! He's charming, human, and the circumstances of the album make it more engaging and poignant. The lyrics are nice and I'm sure they make great singalongs

he's got a very unique vocal delivery that is almost fun, but becomes grating quickly. because I'm not a teenage girl in the 50's, I'm not impressed

high quality jamming

the scourge of mediocre English bands returns! this is a putrid way for humanity to justify deforestation and unprecedented biodiversity loss on this planet its like if the Beatles were bad and not good

I appreciate an album that rewards you for listening through, since that's what we're doing for this list. This one takes its time, but it doesn't get boring or repetitive. There's a wide variety of sounds and engaging lyrical material. So not only is it a pleasurable listen through, you also feel like you've gone on a journey: there's a progression between tracks. It's nice that they flow seamlessly too. As with many of the other albums I gave 5 stars, I'm impressed that this one contains really strong standalone songs that also fit into the greater conceptual whole.

not mad I listened to it once. wouldn't listen again I judge based on sound above all else so I don't care that much about their context or how unique they were "for their time" They sound like horny GIs, but otherwise not that different from any garage band I did enjoy the simplicity and focus on rhythm though

Seems like being edgy is more important to them than the music. If I was an edgy teenager in the 90's then I might like it, but this kind of sound is a big part of why I think it was an inferior decade for music There's a cool guitar part on Sugar Kane Chapel Hill rocks - fun drumming

very fun listen. the funniest record I've heard on this list so far, topping College Dropout. It reminds me of the Beatles White Album for the humor and because I could have done without some parts. Difficult one for me to rate because it isn't quite what I like to listen to, although it did spark some interest in Hip-Hop for me. I found the flows enjoyable even though I usually don't like them from this period. I'm going with a strong 3 - 7/10 territory. Its casualness is both good and bad

i love how clean the production is the rhythmic ideas are kinda boring is this the most 80's sounding album ever? I was optimistic with the first track, but the rest of the album had me glazing over. . . . generic generic 80's pop

is the most interesting thing about this album the presence of fiddle?

this sounds like stereotypical sex music. did this album define that stereotype? I think it achieves what it wanted to. The grooves are groovy To me, music for sexy time has always been and will always be corny

such a relief to hear female vocals I like the use of minor chords, especially on the chorus of "Tonite" "We Got The Beat" is ingrained in my memory for some reason. I probably heard it in a movie or TV show decent overall

sounds effortless like the wind rustling leaves or a gurgling creek. Soulful, playful, peaceful I have a lot of respect for griots and the West African cultures in general. Thanks to my dad for introducing me to their music and my mom for taking me to Senegal I thought the production effects on the vocals were tasteful, and it's well produced in general. Will definitely want to listen again

I find the singer's delivery to be the most interesting thing. She plays with speed, pronunciation, etc. to make a lot of variety The band are really tight and some of the rhythmic ideas are clever. I can see how this would have been a nice development in rock and roll. I'm not a fan of the genre though

STRONG four stars for me. There are songs I really like (2, 3, 5, 8 are my favorites) but I can't really enjoy listening all the way through. I don't know if its too long or I don't like listening to blues/rock enough. Needless to say, there's fantastic musicianship, creative songwriting, expressive vocals. I think if it were closer to 30 minutes I would be all for the album

I think his song writing is lost on me. It seems like good poetry but I can't follow it on the first listen so it doesn't do much. I don't like how he goes back and forth between two chords a lot. . . . lazy I like the one man band sound on "Sisters of Mercy" Maybe I'm just not in generous mood, but I think he would have been better as a poet: I don't care for these songs

I think he liked the sound of his own voice. I'm not as enamored I like the mallet percussion: vibraphone! marimba! especially "Gypsy Woman" which is my favorite track for the instrumental jamming Relaxing, sleepy even. Not sure why it has to be on this list

and the club goes mild the thing about styles, trends, fashions is that they go out of style. Most of the vocal styling on this is very grating, now favorite track - African Dance

I don't really like Plant's singing, but the rest of the band played quite well. It's full of great guitar and drum playing as well as less conventional sounds and neat production tricks The arrangements are tasteful. I especially like when they stray away from rock and towards genres that you wouldn't expect from LZ. Side two is my favorite for that reason. I think this was their creative peak as a band The track run 7-8-9 is a highlight for me

there's not a ton of variety, but I enjoyed listening to that funky Cypress Hill shit I appreciate how simple and effective the beats are. There's a distinctive style. The lyrical content is fun too

I think if you played this for a child they would likely enjoy it I also think a casual music listener would be put off This might be the first time that an album on this list actually strikes me as way ahead of its time. I wouldn't have been surprised to find out that this album was contemporary. Their use of sound is creative. I think the vocals should be perceived as just another sound. If you try to analyze them as singing compared to Frank Sinatra for example, well. . . But the vocals are very innovative and reminiscent of Death Grips, Geordie Greep, artists that would come decades later I had fun listening and I think it warrants more listening, but it's certainly not something I would put on anytime

I wish I could hear this for the first time again! As it is, I'm a little bored with the tracks I know because they've suffered from success. Tracks 1-4 are still really good, but I have the sense that I'm lacking the excitement they would give when they came out. The second half is less stellar The rhythmic loops and textures are very cool. But there isn't much arrangement beyond that, just groove There are some solid thematic and stylistic ideas, but I'm not a huge fan of the Eno influence

pretty annoying another English rock band... Eighties music bad

I would rather listen to authentic dub like King Tubby's This seems like colonizer music. Using various music styles from around the world without adding much. I'm fine with taking inspiration but this doesn't do much with it. Of course it's another English guy. . .

The album started strong. I like the first beat, the energy that he brought, and the theatrical bits throughout, but I got tired as it went along. I think there's a consciousness about it, but there's too much negativity, particularly towards women that gets tiresome. My favorite aspect of the album is probably the humor. Second to that is the production of the beats and third is the rapping cadence which has aged better than most others from the time.

I respect it, but it's not for me. There's a lot of creative energy on display. It gets crazy and surreal at times, which I like. Lots of funky, tasteful arrangements, tasteful uses of the new electronic instruments in the 80s This was definitely worth listening to, especially since I hadn't listened to any Prince before. I can see why he was iconic

Outstanding rhythm section, outstanding vocalist. . . . come on I pity the fool who can't enjoy this Contributions from Paul McCartney, Stevie Wonder, Louis Johnson, and Quincy Jones. . . . come on

I was stingy with my other rating of Kraftwerk so I'll be more generous now. I was going to say this album was important for the 80s and then I saw it came out in 74 so yeah. They were pioneers It's nice to have some long form and proper ambient music on this list. The synths are very playful and warm

Maybe I'm cynical, but I don't think the context of an album alone can make it great. I like the line: "As he died to make men holy, let us die to make things cheap" IF it's a criticism of capitalism

The main vocalist is a weakness which I think explains their lack of popularity. The songwriting is good and the band too. I would probably give it a 7/10 but I'll bump up to 4 stars because I'd like to listen again. There was a sick cowbell solo on "Kanga Roo" I listened a second time. Less impressed. It has its moments, but I think it's the type of thing to be overrated by music nerds. Solid but I wouldn't go higher than 7/10

Can't really compare this to much else. I don't listen to enough Central African music. I'm happy to be exposed to it, thanks to this list. It's not an English rock band. yay It's cheesy at times (mainly the singer doing the low voice embellishments) The rhythms and grooves are fun fun fun ça c'est bon ça

The vocals and lyrical content took me out of it a little bit. Really solid instrumentalists though. I have an interesting relationship with "A Passage to Bangkok." I believe it was the first song I got on iTunes, by the recommendation of my friend Alec. So I've known it since before I could really make an opinion about it. But I hadn't heard the rest of the album until now. I guess I knew that Rush wasn't really my thing, but it was definitely worth a listen.

I was a little worried in the first half by the more straightforward drum patterns and pop ideas. The unbridled creativity in the second half, however, won me over. This album has a lot to offer I've said it before and I'll say it again, I appreciate an album that takes you on a journey. I might not have loved every moment of it, but I'm glad I went

I don't really like it, but I have to give credit for it's cultural staying power. It's ironic that Eminem is so aware on this album of his influence on his fanbase, and yet the worst thing about him is his influence. It's unfortunate that he inspired a generation of white rappers. It's unfortunate that his whole shtick is being a bad person. He's a very talented lyricist, vocalist, and there are a lot of well-produced songs here that people still love more than twenty years later. Not for me though

boring this might be thee most boring, white people music I can think of I would expect to hear this in an orthodontist's office or some commercial

The success of this album speaks for itself. You don't get billions of plays without being outstandingly talented and having the best production, and also appealing to the lowest common denominator of listeners. I think the album is excellent at what it set out to do. I also don't think I would ever choose to put it on. It's really impressive that she could produce this depth of performance and songwriting at 21, but I guess people say the best pop music is made by youngsters. Some of her pronunciations are annoying. She pronounces risk like "reesk". . . .it sounds very affected. I don't know if she inspired a generation of white girls to sing that way or if she was just following the trend, but I'm not a fan.

There are some great musicians credited on this album, mostly notably J Dilla. I think he gets most of the credit for the quality of production. Common didn't come across as woke as I think he would like to. I mean he really seems to think highly of himself. But I guess that's a job requirement for being an MC I enjoyed the story telling, featured vocalists, and instrumental performances moreso than Common's rapping. light four

I can't imagine something more of-its-time. Opposite of timeless nice bass playing I didn't need to hear this. . . .the most interesting thing is probably the Herbie keyboard solo

unlucky for U2 that two of their albums came up in quick succession, but I don't think either one deserved to be on this list and I'm sick of it gonna side with the haters. Their style is like a pharmaceutical commercial

white guys doin the blues. . . . it's ok I was going to do 3 stars but then it went on really long the hook on Layla is so good and then just about everything else is wankery

fun, smorgasbord of a record. I enjoyed the variety and freedom of the songwriting the mixing is pretty tinny unfortunately. I was debating giving it four if not for the production quality fav tracks are "No Return," "Lazy Old Sun" and "Waterloo Sunset" there are also a few tracks I didn't care for

A welcome change from the pop norm of this list. I enjoy hearing one or two songs, but listening to the whole album would be difficult Very good angry noise. The vocals, drums, and guitars all hit. I appreciated the occasional break from typical heavy metal as well. It loses rating from me because it's hard to listen through and because there are some weak tracks

I prefer Pink Moon where it's just him and his guitar. A lot of these songs come across as more forgettable, easy-listening. Still good though

yucky

the beats are wack yo. and she doesn't have much to say, yo

watered-down Stereolab At this point I'm not surprised that they would pick mediocre albums for this list, but there's really not much to grab my attention besides the two decent synth rock tracks (1&6) Can't see why I would need to hear this Of course she's English

the distorted vocals give it a warm, cozy feeling I always thought the Strokes were overrated, but it's a good album. It justs starts to lose interest as the songs become samey. The same guitar strumming patterns and casual, washed out sound. I have to acknowledge that this album had quite an influence on the pop rock of the 2000s and beyond. I think the Strokes loom large over my and my generation's memory of growing up

I'm pretty sure this album would reward many successive listens. I've heard it a few times before and I don't think I've cracked it open yet.

I am reminded of why I haven't listened to a whole album by LBM. They sound so good, but there isn't a ton of variety. The songs on this album are like lullabies- Pro: very relaxing, Con: not very exciting or engaging after a while. Their vocal control is impeccable. The use of dynamics, a variety of timbres and ranges, and loose but perfectly synchronous rhythms are all impressive

Mmm his voice gets annoying. Bad singing, decent instrumentals, great lyrics. I love his uses of rhyme. The way the words flow on 1 and 7 is something to behold. Tracks 2, 8, and 10 are such poignant, powerful songs too. But the other half of the album makes me wish I was listening to something else, and for that reason I won't go higher than 3 stars

less than the sum of its parts.

good vocalist, standard songs I like the production, but the sound is almost too clean to the point of soulless. The lyrics are generic pop vagueness about love

fun album. My favorite track is Worms I'm definitely biased because I've been listening to a lot of Irish music in the past two years. There are a few bangers on here and also enough variety to keep it interesting. I used to be put off by the lead singer's voice, but not so much now, I guess

this might be my least favorite kind of music whiny white boys favorite track - So Alone first time after 90+ albums that I couldn't be bothered to listen through

It's very... English I enjoyed the second side. It's a trip. The narration seems to be inspired by Finnegans Wake The bassline on "Song of a Baker" seems inspired by the one on Jimi Hendrix's "Hey Joe" and "Rollin' Over" sounds like "Foxy" I think I enjoyed the whimsy more than the music

Hard one for me to rate. It's like meta-music. Not very beautiful or human, but I don't think they're trying to be. In a way, it is very human; the message is more important than the medium I was smiling and chuckling. I enjoyed the synthesizers and goofy vocal inflections. As I often do, I wish I could have experienced this album when it came out, in its chronological context. As it is, for me it's hard not to see it as a quirky relic

I was aware of Moby from the time I started being interested in music as a kid, because of dad's CDs. His music was underwhelming to me then, when I was enthralled by the contemporary electronic music being made, and it's still just as underwhelming to me now. It seems so uninspired; lazy beats with vocal samples doing most of the work on top of weak chords. I guess it works as background music? It really doesn't hold my attention

They just keep getting more English This album has its merits, there are some interesting bits, but the music is not primary. I'm not likely to love an album where the lyrics are the primary focus rather than the sound. At least there is variety in the styles of song. Fairly enjoyable listen that I won't come back to. I'm definitely not the target audience

nice voices, uninspired lyrics, very predictable arrangements I kinda feel like I'm losing braincells while listening

I don't feel like one listen was enough to do this album justice. I mean it seems like an inspired production with some meaning behind the songs. I liked how snappy the drums are, the variety of vocal deliveries. The album has passion and charm. It didn't make me too eager to listen again so it sits around 3 stars.

good example of why I think the 90s were weak for music

It's a strong four for me. I feel the need to knock it down a peg for two reasons: I don't really like Yorke's voice, and Radiohead has a depressive quality that I don't enjoy. Some sad music makes me feel sad in a good way, but Radiohead usually gives my depression, depression. I know a four is pretty harsh here, because the arrangements are excellent, the production is excellent, there's a wide range of emotions, plenty of ideas... The transition from track 9 to 10 is fantastic But my heart isn't fully in it. I hear a lot of influence on the vocalist of the band Geese in the song "No Surprises"

the vocal harmonies and string strumming are just right. there's poignant lyrics that are both of this world and ethereal the last two songs are my favorite

3 good songs and a lot of filler "Jenny Was A Friend Of Mine" has one of the most lackluster synth parts that I've ever heard, towards the end. And the average quality of the arrangements is not much higher I imagine Millenial parents rocking out to this in their soulless subdivisions, or hearing it in the drug store, which is fitting because of the band's U2 inspirations. Just like their predecessors, their sound fits right into the glazed-over mindset so conducive for consumption

not the most powerful music in Simon's discography, kind of a quirky random assortment. I'm glad I listened and I'm glad songs about thinking too much exist. was thinking light 3 but there aren't any songs I recall loving so I'm thinking strong 2

I feel that my review isn't worth much on this. Its value is proportional to the amount of attention you can give it as a listener For what it's worth, I respect the musicianship and the fantasies that unfold. They're getting so much out of their instruments. The musicianship does feel over-indulgent at times though

some good guitar solos and talk box I don't really care for live albums though. Also the songs are mostly just ok. Fairly fun listen

first of all, you gotta play it loud. second, this album suffers from success, and most notably from it's use in car commercials. Like The College Dropout, this is one of the first albums I remember listening to. One of the CDs I co'opted from dad I guess. I had kinda grown tired, maybe even dismissive of it because I had listened to it so much over the years. But I cannot deny that it's a fantastic album. This is the sound that defined rock and roll for me. I don't really care if they're stealing from what came before. The sound is incredible. This is my favorite LZ material because it combines folk fantasy and distorted guitars. It's fantastical rock music like Fleet Foxes and I haven't found much else like it. The more acoustic songs are beautiful and welcome contrast to the ruckus. Plant's vocals also sound better than they ever did. I think they're being layered a lot of the time and the effects are excellent. I must reiterate, it won't sound good if it's too quiet.

surprisingly low-energy. 7-11 is probably the most fun track. most of them aren't fun, nor are they emotionally moving. Seems like this album was funded by alcohol money. I like Beyoncé as a singer, but I don't think this album plays to her strengths. The 808s and trap percussion are pretty lazy, sound dated

campy and fun I like the line "We have returned to claim the pyramids" reminds me of the guys on Junkion planet in Sam's favorite transformers movie

seems to merit relistening. It's got that free flowing creativity of the 70s, for better and worse. But it also sounds remarkably modern at times. The term bedroom pop should be invoked here Inspired by psychedelics, and it is a trip. Sometimes annoying, sometimes beautiful

I think most people would agree this isn't Stevie's best. And I think it's because of the weak lyrical content at times and more forgettable ballad type songs. And yet I'm tempted to give 5 stars because there's still so much good music here. Some really good songs, plenty of fun instrumental moments and neat arrangements.

I like the energy, but this kind of early punk is not that interesting to me

some nice drums. I like the dub influences some of the lyrics are so corny. I do not dig the corniness of the 90s overall the arrangements are not that good. like a lot of early Electronica, this leans heavily on the technology and lacks music theory

I have to rate this on a different plane from the rest. It's satire and humor first, music second. Also, half of the album is avant garde (impressive that they can make both pop music and avant garde well). So it's different. Very entertaining, challenging at times, but moreso fun, funny. I was sold by the clever bits of instrumentation, editing, spoken word, one-liners, and overall inventiveness

I like the use of space, allowing the guitar and vocals to breath. I like how the guitar "talks" I thought I would never give a live album 5 stars, but this music really feels like it's meant to be live. A storyteller needs an audience. I enjoyed hearing the feedback between King and the audience. It really brings the songs to life, like someone complaining about their blues to their friends. The music is raw, refined, and fun. I appreciate that the blues isn't more complicated than it needs to be; they only use the notes they need to be effective

it's a solid album, but my enjoyment is tainted by the assocation with bigoted old white men in dingy bars. In a vacuum, I might give it 4 stars. But there's too much weighing on it. For that reason, I enjoy the tracks that haven't gotten as much radio play The sound is well rehearsed, the lyrics are poignant and simple. I like the doubled guitars

I feel similarly about this album to the way I do about Al Green's Let's Stay Together. I love the vocalist, the tunes and playing are solid. The main thing that's lacking is range. The majority of the songs are about relationships, which is typical of pop music, I know. Franklin's album also lacks original songs: it's a lot of covers. But does she ever put her soul into the songs.

I'm not a big fan of his whiny voice and sad harmonica. He's a pretty good songwriter though. Another case of being a better lyricist than musician

"There She Goes" is the only song that really appeals to me. A couple others started to be intriguing but didn't quite satisfy. I don't like the vocalist and the genre either, I guess I thought they said "there's no harm increasing your neighbor's lawn" I also liked "on this street for knowledge, you must eat your porridge" brilliant stuff

perfect for piping into a shopping area! I'm annoyed that there is more than one Adele album on this list. This one certainly doesn't bring anything better or more interesting than 21. All it has to offer are a couple massively popular tracks, albeit good ones, which I didn't need to go out of my way to listen to because I've been exposed to them without trying. Three cheers for more lowest-common-denominator pop. I mean some of the tracks on this one are mind-numbingly straightforward

very low energy for the most part the vocalist is challenging to listen to. I almost had to quit about three songs in. But the lyrics almost make it worthwhile. And the songs get a little more varied in the second half

Distinctive voices are highly valued in the US, but I found myself thinking that it's a detriment for me that I'm constantly aware it's Willie Nelson singing these songs. I think it's a slight barrier to immersion. That being said, they cultivate a reflective mood with careful arrangements and Nelson's earnest vocals it's not really an album that I would be eager to return to which means 3 stars

REM has existed in my head, as long as I can remember, as the pinnacle of boring music, and it holds up to this day. I don't think music should be made about politics (it should be primarily about the beauty of sound) but if it is, then at least make it musically interesting. The only interesting moment was when the saxophone came in briefly. Otherwise it's music for white people, snare on 2 and 4. Maybe if I had been alive at the time their messaging would have reached me, but as it is, I'm not moved

I'm feeling a strong 2 to light 3. It's more style than substance. The style is pretty cool; cathartic noise and texture. The substance is lacking; there's not much going on harmonically, melodically It would be fun to hear loud on a good sound system I like the album art I like the straightforward drumming I could only find the Deluxe Edition so I can't speak to the original track list

this is one of a dozen or so albums I was listening to as far back as I can remember, long before I knew what acid was, when I was discovering electronic music. Acid 8000 still defines acid for me. And most of the tracks still hold up. The beats are infectious and fun. I remember being conflicted about the repetitiveness, and at times I still think it's a bit much, but moreso I think the repetitiveness makes it dancey, groovy, and is offset by tasteful arrangement, builds, and sample manipulation. I mean it's nowhere near as predictable as typical electronic music. It has a lot more character and wackiness. Fatboy Slim's background as a bassist shines through the record. The bass lines and drum beats are undeniable, with a few exceptions. The main weakness, to me, is the corniness of the vocal samples at times, paired with the cartoonish-ly positive upbeat-ness that lends itself to use in commercials. The first two tracks and last three are my favorites. Tracks 3-8 are a step down. Although Gangster Trippin might be a 5 too. So I'd say half the album are 5's and the other half are something less. Plus the album art is... not for me, so strong 4 overall

The first two songs have élan, impulsion. The rest are unremarkable. The vocals are uninspiring and not helped by the distorting effects. I don't have a lot of patience for music like this but I do respect the artistry and craftsmanship. Also it's toooo loonnnnggggg

I don't enjoy the big snare on 2 and 4 or Bruce's yelling, so "I'm On Fire" is probably my favorite song. The melodies are not deft, either. Very in-your-face. I do appreciate the storytelling, but I can't get past the quality of the music.

say it with me! BRIT. BIAS. It's okay. Nothing too interesting or inventive. My favorite parts are the instrumental passages.

Unfortunately I can't really tell what they're saying or distinguish this from other Salsa, because I don't have Spanish or listen to a lot of Salsa. But I like it I like how rhythms are superimposed. The driving bass lines, fiery horns. It's life-affirming

I guess I'm jaded. English guys doing the blues is a bore. There were some cool elements, but I find it trying, to find enjoyment

I saw someone comment that it's like a late-night radio show, and I agree. It's a nice listen because it's relaxed and there are surprises along the way. I like the trancey, bass-driven "Stoned..." I like the poppy "Nothing Can Stop Us" with that euphoric flute part And I like the ethereal interludes such as "Like the Swallow"

straightforward rock music. It doesn't interest me that much but at least it's well-executed and there are some good melodies

it's merciful that they keep the songs short. a lot of banging without much arranging. I suppose it could be fun to see them perform

It's so dense that I would need to listen more to unpack it fully. I haven't listened to Prog Rock by choice before, but if I did, I would want to set aside time to give it my full attention on good speakers. I was moving along with a casual listen though. The album art doesn't do the album justice. There's a breadth to its imagination and invention, and the art just looks dreary. At times, their playing feels over-indulgent though. I think you have to be enamored with electric guitars to really be moved by this

I feel that I should like this more than I do. But if I'm being honest, I don't like the mixing. I know it's a very important stylistic choice, and sometimes it produced an emotional response for me, but mostly I didn't enjoy how washed out and muddy it is. They're using the same boring drum patterns that every other rock song uses, that every drummer learns first. It's a large part of why I'm bored of rock genres in general. The main positive was, occasionally, I would settle into the blanket of sound and start to feel something. I like that they're trying to cultivate an aesthetic. I like the cover art. I'm going to blame dad for not exposing us to it sooner, because maybe I would like it more, now ;P

I've noticed that musicians who want to be "different" often rely on adding "noise" and singing "weirdly". . . probably because those are easier and require less musical training than being inventive in the realms of arrangement, dynamics, harmony, melody. I would prefer the latter. So you can probably guess how I feel about this. The high pitched noise at the beginning is a choice. Some of the arrangements are boring. But it's entertaining and makes me wonder what they're on about. And the use of a variety of sounds and samples is enjoyable. It's just on the fringe of music. I also enjoy how silly the vocals get. They're quite successful at being unhinged

this is an album I already knew well. Or at least I already knew half or more of the songs. Helplessly Hoping is one of my favorite songs of all time. The vocal harmonies are like a gold standard. I don't need to sing the praises of this group, it's been done. The only thing I would detract from the album is for some of the lyrics on the weaker songs. At times, they're dated, cooky, and it takes me out of it. Still a solid 5 stars. Love

this is the most I've enjoyed REM, but it's not that much. the singer's voice is devoid of expression. it's very 80s sounding I think "Laughing" is the first song I like by them. I see all the talking points: tight rhythm section, tasteful bass and supporting vocals, weird lyrics, etc. But I don't feel it. The rhythms are too straight. I suspect I would feel differently if I hadn't grown up with all the alt-rock that followed them

I don't think one should sing like that, all the time. I can't stand it. If it was only occasionally, fine. But not all the time In the same way that DB is not for me, too theatrical, so too this. I think Mass Production is the best track, wherein they realize the dystopian vision most effectively

I appreciate the whimsy in their storytelling, although I didn't really follow what the songs were about. I didn't really care for the arrangements, though. As a percussionist, I have to acknowledge the Flaming Lips as the #1 tubular bell users

Band on the Run is an A+ song. It's downhill from there. Jet is pretty good, and none of the others made much of an impression. The bass playing is the standout for me.

I'm feeling a light four for this. The beginning is so weird. Track 1 is a live version with stereo field issues? Track 2 has a message that I approve of, but the placement, so early in the album is strange. But in hindsight I suppose I like it, allowing for a mellow, soulful second half. Track 3 is the album's highlight and brings a noteworthy first half to a close. Tracks 4 and 5 are the strongest in the second half, and while the rest are more forgettable, I generally enjoyed them. Particularly, I enjoy how patient, spacious the grooves are. It lets you savor the licks. There are plenty of instrumental and vocal treats to enjoy. In some ways, it feels like they went in all directions (lyrically for example). But the mood that results from the arrangements is quite consistently mellow funk

light two. unremarkable pop rock. I can't stand the songs where they hit every single eighth note. No rhythmic diversity. Compositionally unimpressive too I think it's telling that their most famous song is actually more famous as the remix version

I don't agree with using that "r" word to describe this album. They're just another rock band. At times closer to the Beach Boys than Bombaclaat. That said, it's a very solid album with songs in a variety of styles. They're good at structuring songs and there are plenty of good ideas. I think "Walking On the Moon" is my favorite. Maybe just because I knew it before, but not too well like "Message." I like the Dub influence. I like "The Bed's Too Big" for the same reason Really nice drumming, especially the hi-hat work

This might be as close to a perfect pop album as I know It's a great lesson in pop songwriting. In most songs, a melodic hook is introduced, and a couple more ideas might be added, mixed and matched, but not too many. The key is simplicity. A better word is concision. Even though the orchestrations are complex and multi-layered, the melodic and harmonic ideas are organized and concise. I enjoy singing every song on the album. There are no stinkers. Maybe a few oddballs, but it's a 10/10 for me. Bonus points for the cohesion. You can comprehend a beautiful whole when you listen through. On top of all of that, there is emotional weight to just about every track. A lot has been said about the record, and I won't cover it all. Primarily I want to express awe and gratitude

I don't hate it, but its unfortunately the type of music that shows up too frequently on this list. Decent tunes, not much depth. I can't be asked to analyze it much further. I'll give it a light two for being somewhat catchy and somewhat edgy

The weakness is that all the songs are pretty similar, all morose. The strength is the slide guitars, strings, and other instrumentation, plus the echo effects. They make a beautiful soundscape. It's reminiscent of the American Southwest. I think my favorite songs are "Guess I'm Doing Fine" and "Round the Bend." I also like the lyrics of "Already Dead"

whatever people say they are is probably what they are very British, very mainstream rock music

Admittedly I wasn't having a good day, but I'm going to be ruthless. I'm tired of inessential albums on this list. There's so much better music out there. The main thought I had while listening was that it sounds like a tired echo of 80's music

I like the folk songs, and the rock instrumentation is a welcome pairing. They strike me as a precursor to Fleet Foxes I like the female vocalist (reminiscent of Anne Briggs), and her somewhat Celtic way of singing. "Farewell, Farewell" is my favorite

its very simple music, which is good for appealing to masses. Simplicity is not necessarily a bad thing. It's also conducive for creating an emotional response. I don't find it very fun or interesting

very fun album, rhythmically. also pretty solid with the melodies. It's a style of rock that is not too familiar to me, which I like. And it really rocks

light four it's tight, it's loose it's not too complicated I dig it

she's a good singer and yet this album made me hate her singing by the end. Way too much whiny ornamentation. the male ad-libs are lame, and the instrumentals are not much better (quite dated)

while not very interesting, musically, this album does evoke nostalgia for me, at times. I appreciate that there's a concept to the album. I don't think enough artists have addressed the ennui of the suburbs properly, and Arcade Fire do it well here. The middle of the album, a majority of its runtime, is quite forgettable. The title track and Sprawl II are the only standouts. And that's my main criticism; the music is not very memorable or interesting. But the message is, moreso, and there's potential for emotional impact.

I like: The vocal breakdown on The Prophet's Song The vocal harmonies on Love of My Life The vocal harmonies in general How fun the first four tracks are The silly vaudevillian, music hall stuff I dislike: The more straightforward rock sections like on Sweet Lady The syrupy Broadway sections (Seaside Rendezvous is very fun, I'm just not always in the mood) So I don't think I can give it a 5 because parts of it are hard for me to stomach, but. . . . It's a delightful record, full of delights!

quirky mix of songs. I like that they have different moods it's well-produced. I was never blown-away. But it doesn't seem like Harry was going for something grand. it's laid-back

I still don't love Bruce's voice, but I actually find these songs to be compelling. He's able to convey a range of emotions I enjoy how American this album feels. I find myself imagining the way the U.S. was in the 70's, and I suppose I can credit the lyrics for that. I was listening to "Racing in the Street" in my car when I saw a couple of drivers caught up in a road rage battle, and it was quite the musical backdrop

EASY 1 I didn't like anything about this

"Stand" reminds me of They Might Be Giants, which I have a soft spot for. Orange Crush is a decent song, and I didn't care for the rest. My opinion on R.E.M. hasn't changed much. I find their music boring and uninspiring

Some of the synth sounds really impressed me, but the arrangements less so. The reverb effects they use really heighten the sound, I think I appreciate the realness, the emotiveness in the singer's voice. Most of all, I appreciate its originality: certainly more interesting than hyper-processed mainstream pop, and also (I'm assuming) a pioneer of electronic dance music. That being said, I can't say I thoroughly enjoyed the listening. Musically, its not well-crafted, and lyrically it leans heavily on lust. I'm happy it was made; I think expanding the range of expression is always a good thing. But, I can't honestly say I love it or that I would choose to listen to it again

I was going to give this 5 stars, but then as the album went on it lost some of its luster. Maybe I didn't like the style of songs later on, the energy dropped off, or the spell wore off. I don't know. I really enjoyed it though. It's an album I had listened to before. Afro-cuban music in general has a hypnotic quality about it that immerses you in rhythm. This is no exception. It's a delight to pick out individual parts of the band, but it's also a delight to let the whole sound entrance you, make you one with rhythm. I'm actually glad that my brain doesn't register the meaning of the lyrics because it is freed up to process the vocals like any other instrument - as pure melody and rhythm screw it, 5 stars

seemed like some of the songs were reused. Like same song, different lyrics. Not enough variety to justify 50+ minutes Lethargic and morose, but he swore a few times so that's cool

I feel bad for the souls that cannot enjoy this. The rhythm section and vocals are on point. It's good for my soul, anyway Gonna go with a four because there are some weaker tracks: Rebel Music, Talkin Blues. They're a bit too simple I guess. But that does make it easy-listening. I'm surprised this album is from 1974. It sounds more modern to me. I'm also surprised by it's cultural staying power, and as Dad mentioned Marley's prevalence on rock radio. My explanation would be that the simplicity makes it palatable to a broad audience.