Status Updates From Vinyl Me, Please: 100 Album...

This weekend I listened to Aretha Franklin’s Aretha Now, Funkadelic’s Maggot Brain, Peter Gabriel’s Peter Gabriel [3], and Marvin Gaye’s Here, My Dear, and just read all the reviews this morning. Each album was great and I’d happily add all of them to my vinyl collection. I was absolutely mesmerized by the track Maggot Brain—the moment I heard it, I immediately played it back for my wife the next time I saw her.

Eric Sundermann starts his review with “Is there a perfect record? Because if there is, it’s Fleetwood Mac’s Rumours..." I can’t really argue with that. I owned it on CD, I’ve streamed it countless times, and it was one of the first records I bought when I got back into buying vinyl. It’s a magnificent album, and the hype is absolutely real.

There’s a reason why the Fugees covered Killing Me Softly with His Song — it’s an absolute banger from Roberta Flack. It’s a brilliant way to open Killing Me Softly the album, and Roberta’s soulful voice is perfect throughout. Not one I’d necessarily buy on vinyl, but a great album nonetheless.

Similar to my thoughts on Discreet Music, Yore by Evenings is an instrumental album that completely drew me in. I’d never heard of Evenings before this, but I really enjoyed it. Like Tyler Barstow notes, “It takes time for it to find its way into the deeper sections of your mind,” and “Every time I listen… I feel a little more awake and in tune.” I’d love to spend more time with it to experience that feeling myself.

I’d heard of Brian Eno as the producer behind artists like U2 and David Bowie but knew little about his solo work. I don’t often listen to music without lyrics, but Discreet Music was fabulous on the ears. It’s the kind of album that demands quiet focus to truly appreciate its ambient soundscapes. I’ll definitely revisit it again—it feels like one that rewards deeper, more attentive listening.

Bob Dylan is a legendary singer-songwriter, and if you ask anyone which album deserves a place in their collection, Blonde on Blonde is always near the top of the list—and I completely agree. It’s a brilliant album from start to finish, full of character and poetry. I also love the story behind the blurred cover artwork—it perfectly matches the album’s hazy, dreamlike feel.

I didn’t discover Nick Drake until I was well into my 40s (he died a year before I was born), but I was instantly captivated by his music once I did. By the time I started listening, everything was digital, so I never owned any of his albums physically. Pink Moon is a beautiful, minimalist work—short at just 28 minutes, but stunning throughout. It’s definitely one I’d consider buying on vinyl.

The Doobie Brothers have a fun yacht rock vibe, and Minute By Minute really defines that genre. I love the single What A Fool Believes, and there are a few other gems too. I won’t be adding it to my vinyl collection — there’s not quite enough to justify the spend — but it’s a fun album all the same.

I love Endtroducing by DJ Shadow, and yes, it’s firmly on my vinyl wishlist. When Ben Munson says it’s “universally revered” and “set an unreachable benchmark,” he’s absolutely right — this is a hip-hop tour de force, a uniquely brilliant album and truly one for the ages.

Who are Dirty Projectors? That was exactly my question when I first read the review and listened to the album. It turns out they’re the brainchild of singer-songwriter David Longstreth. I thought it was pleasant enough — interesting, even — and worth another listen, so I’ve added it to my “listen again” list. That said, it didn’t quite hook me enough to think, “This is amazing, I must own this.”

Over the weekend I listened to Daft Punk's Random Access Memories , Miles Davis' Bitches Brew and Def Leppard's Hysteria as part of this challenge. Three very different albums but all fun in their own way. Hysteria was one of the first albums I ever bought, so it’s firmly on my vinyl wishlist, along with Bitches Brew. I like some Daft Punk tracks — especially Get Lucky — but overall it’s not really my genre.

I mentioned D’Angelo in an earlier update after his unfortunate passing last month, so it’s fitting to see Voodoo included here. Drew Millard perfectly sums it up in his review, calling it “a singular, perfect document, a work of R&B magical realism for the ages” — a statement I’m fully on board with. A timeless, soulful masterpiece.

I love a bit of jazz, and John Coltrane is an undisputed pioneer. A Love Supreme’s importance, as Andrew Martin notes in his review, cannot be overstated. It’s a brilliant work of art that brings pure joy to the ears — spiritual, soulful, and timeless. And yes, why not enjoy it with a slow gin fizz in hand?

Weirdly, I’d been listening to Let God Sort ’Em Out, so seeing this Lord Willin’ review felt perfect. I really got into Pusha T when Kanye dropped Daytona during his Wyoming Sessions. I didn’t know he’d been part of a rap duo with his brother until Clipse reformed in 2019. Everything the Neptunes touch turns to gold, and this album is no different — I love the sound and would love to have it in my collection.

London Calling by The Clash is one of those albums that belongs on everyone’s “essentials” list—and rightly so. Released just 13 days before my fourth birthday, it wasn’t on my radar, and my parents weren’t into this kind of music. I first saw it in my uncle’s collection but didn’t properly appreciate the genre until my forties. I love it now, and it’s firmly on my vinyl wish list.

Kaleidoscope World is a nice, chilled album and an enjoyable listen. It wasn’t on my radar at the time of its release in 1989, and I’ll admit I hadn’t heard of The Chills until I came across the page in this book. It’s mellow and pleasant, and while it’s not one I’d rush out to buy, it probably deserves another listen from me.

Donivan Berube’s review of Captain Beefheart's Trout Mask Replica is spot on — musically, I’ve no idea where to place this, but it’s a marvelous piece of the bizarre. I’ve always had a soft spot for the avant-garde, and this definitely fits that mould. It’s strange, fascinating, and oddly compelling. I’m now off to track down Marc Maron’s comedic bit about it!

Untrue by Burial is a genuine masterpiece. Much like my thoughts on James Blake earlier in this process, it’s not really my genre, but I can absolutely appreciate the artistry and atmosphere behind its production. Gary Suarez’s review captures its essence perfectly — a great read about a truly unique album. I won't be adding it to my vinyl collection but not surprised it's got a place in this book.

I grew to love David Bowie over time — he was a masterful artist and a true icon. I own all of his work on CD, and it feels only right to start replicating that in my vinyl collection. His albums deserve that space. Andrew Winistorfer’s tribute to him in this review is perfectly on the mark, capturing exactly what makes Bowie’s legacy so enduring.

Luke Winkie’s assessment that you’ll “never hear anything like The Lemon of Pink [by The Books] again” is absolutely spot on — and honestly, I’m fine with that. It’s certainly a unique mix of genres, but it just didn’t work for me. Not terrible by any means, just really not my cup of tea.

Nice little touch with these cocktail suggestions.... I'm going to have to re-read these when it's evening.

Back in the day, I was slightly obsessed with Limit to Your Love, but I’d never really explored the rest of James Blake’s debut. It’s not exactly my genre, though I can appreciate the artistry. Tyler Barstow’s description of Blake as “a Frankenstein’s monster D’Angelo and Thom Yorke created together” is brilliant yet weird to read the same week D’Angelo died, may he Rest In Peace. A good album, just not my style.

I came late to The Black Keys party, so I’d never really listened to Thickfreakness before — but it’s a really good album. I already have their full back catalogue on my vinyl wish list, and this definitely deserves its place there. Cameron Schaefer’s anecdote about Dan Auerbach’s trip to Mississippi in the review is delightful.

Chris Lay’s comment in his review that Bikini Kill “packs more punch per second than just about any other album out there” is spot on — it’s 15 minutes of pure, loud, chaotic punk, and I love it. I found it on Bandcamp for $18, which works out to just over a dollar a minute — I’ll have to think about whether to add this one to my collection.

I listened to #1 Record by Big Star for the first time and really enjoyed it. You can instantly tell it’s from the ’70s, and I was surprised I’d never heard of them before. Susannah Young’s review sheds light on why, which is quite sad. A great listen overall, and I’ll revisit it again, though I don’t think it’s one I’ll be adding to my vinyl collection.

I like Beyoncé, and there are definitely some great tracks on this record. But did it, as Caitlin White suggests in her review, truly change the way the industry conceives major label releases? I’m not entirely convinced. A good album overall, but not one I feel the need to add to my vinyl collection.

I listened to Beck’s Sea Change on my commute this morning and found it to be a deeply emotional, beautifully crafted album. I’m not a huge Beck fan— although I do own Odelay and Mellow Gold on CD. What I love about these reviews is how they change the way I listen; Eric Sundermann’s take on Sea Change was no exception and added real depth to the experience.

I loved revisiting Sgt. Pepper’s. I own everything the Beatles released on CD, but I have to admit—I’d love to add this album to my vinyl collection. It just oozes class and flows effortlessly from banger to banger. I really enjoyed Eric Sundermann’s review, especially since I wasn’t around in 1967 and had little sense of how groundbreaking this was at the time.

I’m a big fan of the Beastie Boys, and Paul’s Boutique is definitely an album I’d want in my vinyl collection—along with all of their albums, to be honest. I really enjoyed reading Chris Lay’s review and completely agree that this record stands as one of the last of its kind when it comes to the art of sampling.