One of my favourite albums, still as good now as when I first heard it as a teenager and hasn't really dated at all. Love the sound of everything, and it values close listening - the bass and guitar in particular. Intelligent, anti-consumerist/capitalist/imperialist lyrics, coupled with funky jams - what more could you want?

This is pretty great and wished I'd heard it when I was younger; heavier than I was anticipating (sort of a sludge metal/grunge hybrid) with some absolute monster riffs - the opening 1-2-3 of Them Bones, Dam That River and Rain When I Die is unstoppable. Being an hour-long album largely about drug addiction with pretty grimey production, it can often be a bleak and difficult listen - especially knowing the eventual tragic fate of the lead singer Layne Staley. It may have been better being slightly shorter, but I honestly don't know what I'd cut - in isolation, there's not really a bad track here and it does flow very well. A strong 4/5. Favourite tracks: Them Bones / Dam That River / Junkhead

As a teenager in the mid 90s reading about music in the NME and Q, this was always mentioned in hushed tones as one of the all-time greats so I went in with high expectations and was initially disappointed. The Morricone-esque opener aside, the first few tracks on first listen seem on first listen quite standard MOR crooner territory. However as the album progresses and you tune into Walker's dark songs (touching on subject matter like Bergman films, the Warsaw Pact and PTSD) through his beautifully rich voice, it clicks into place. The second half becomes more musically varied and ambitious. On second listen, I loved it all and it feels like a proper album that builds and flows - the perfect length at 30 minutes too. It also got me listening to some of his later, avant-garde output too which seems right up my street - The Drift in particular feels like a horror movie on record. Top Tracks: Boy Child, Get Behind Me, Rhymes of Goodbye, Old Man's Back Again (Dedicated to the Neo Stalinist Regime)

I don't think I can get with ELP and their prog ilk, it just feels really dated and musically staid compared to other music of the era (e.g. originally released the same year as Tago Mago which still sounds fresh). The lyrics are dreadful too: Can you believe / God makes you breathe Why did he lose / six million Jews

One of my favourite albums, still as good now as when I first heard it as a teenager and hasn't really dated at all. Love the sound of everything, and it values close listening - the bass and guitar in particular. Intelligent, anti-consumerist/capitalist/imperialist lyrics, coupled with funky jams - what more could you want?

My knowledge of Wings pretty much begins and ends with Alan Partridge calling them "the band The Beatles could have been". He's probably not too far wrong - there's plenty of songs here that could easily fit onto a later Fab Four album if they'd had someone else to give them a good-looking over. The hooks and pop smarts are still there, but it doesn't quite work as well as his albums with the Beatles. Reading the Wiki of the album was almost as entertaining as listening to it - deciding to record it in post-Biafran war Lagos amidst a Cholera outbreak for the exoticism (?!) and an irate Fela Kuti storming into their studio accusing McCartney of appropriating Nigerian music after visiting his club (only calmed by being played some of their recordings). The album works best when it strays into Abbey Road medley territory, switching around mid-song and re-visiting previous hooks, and the final Nineteen Hundred and Eighty Five is a pretty funky jam - could work well with an extended edit of the piano. Not an album I'd have listened to without this challenge, but glad I did. I was ready to give it a 4 or even higher on first listen, but the initial giddy high didn't quite stay on repeat listens and I doubt it's one I'll revisit in full too often. Sounds better on headphones too, some nice production. 3/5 on the 1001 scale, 3.5 for me.

An album I'd always been aware of (a favourite of the 2 for £10 bargain bin at HMV), but never listened to - mainly because of their most (only?) famous song, "Here She Goes" which I must have ambiently heard hundreds of times from adverts and whatnot. It's a great song in isolation, but it can only be taken so many times. To my surprise, the majority of the album is much more muscular than "Here She Goes" and has a clear connection with the old Merseybeat and British Invasion style bands from the 60s - almost power pop. I even checked out some of the BBC live sets they made after reading about Lee Mavers' dislike for the album recordings and preferred these in some ways, a sharper and slightly more modern sound than the actual LP. It's influence on Britpop (a shameful mark on British musical history) is easy to hear, but it feels superior and better crafted than it's later counterparts. A solid 3.

This is pretty great and wished I'd heard it when I was younger; heavier than I was anticipating (sort of a sludge metal/grunge hybrid) with some absolute monster riffs - the opening 1-2-3 of Them Bones, Dam That River and Rain When I Die is unstoppable. Being an hour-long album largely about drug addiction with pretty grimey production, it can often be a bleak and difficult listen - especially knowing the eventual tragic fate of the lead singer Layne Staley. It may have been better being slightly shorter, but I honestly don't know what I'd cut - in isolation, there's not really a bad track here and it does flow very well. A strong 4/5. Favourite tracks: Them Bones / Dam That River / Junkhead

Fine with a couple of good tunes, however feels pretty functional and way overlong at an hour. Maybe if I had a better sense of Costello's catalogue and it's place in it I may appreciate it more but seems a strange choice for this kind of list.

Another day, another Elvis Costello album. However, unlike yesterday's middling Brutal Youth, this was excellent. His band The Attractions are super-tight particularly on the jerkier, New Wave tracks (Pump It Up is close to perfect), and I can understand the credit Costello gets as a talented songwriter/lyricist. The production is much crisper than Brutal Youth too, everything sounds clear and sharp rather than the slightly muddy mastering of the later album - really brings out the way the band fit together so perfectly. Didn't tire after a few listens today, will return in the future. It also introduced me to their infamous fuck-you SNL performance - https://www.youtube.com/watch?v=eD_24nDzkeo Top Tracks: Pump It Up, (I Don't Want To Go To) Chelsea, Lipstick Vogue

Despite broadly sharing the same politics as Bragg, he's never done anything for me at all. This didn't change my mind.

As a teenager in the mid 90s reading about music in the NME and Q, this was always mentioned in hushed tones as one of the all-time greats so I went in with high expectations and was initially disappointed. The Morricone-esque opener aside, the first few tracks on first listen seem on first listen quite standard MOR crooner territory. However as the album progresses and you tune into Walker's dark songs (touching on subject matter like Bergman films, the Warsaw Pact and PTSD) through his beautifully rich voice, it clicks into place. The second half becomes more musically varied and ambitious. On second listen, I loved it all and it feels like a proper album that builds and flows - the perfect length at 30 minutes too. It also got me listening to some of his later, avant-garde output too which seems right up my street - The Drift in particular feels like a horror movie on record. Top Tracks: Boy Child, Get Behind Me, Rhymes of Goodbye, Old Man's Back Again (Dedicated to the Neo Stalinist Regime)

Always rated The Jam more as a singles rather than album band, and this re-listen confirmed the case for me. It's fine throughout, but only really Start and That's Entertainment shine brightly.

This was released around the time I went to Uni, and I saw them in a 1/3 full venue shortly after the album came out - I don't think I'd even heard of them at the time, being dragged along by a cooler friend who was into alternative US rock. It was probably the best, most life-affirming concert I'd ever seen. I saw them again in the same venue about 9 months later and it was packed to the rafters, and just as good. I've seen them since and they didn't quite capture the same magic (it felt a little too culty in larger halls), but those 2 shows were very special. Race for the Price will probably be listened to for as long as we have music, and there is a certain something to the album that doesn't really sound or feel like much else. However, I never loved this record as much as others - maybe as to me it paled against the live show from the era.

Very top-heavy and overlong, but undisputable ambition. I'm glad there's someone like her pushing the boundaries in R&B/pop, but it doesn't always translate into something I want to listen to

I don't think I can get with ELP and their prog ilk, it just feels really dated and musically staid compared to other music of the era (e.g. originally released the same year as Tago Mago which still sounds fresh). The lyrics are dreadful too: Can you believe / God makes you breathe Why did he lose / six million Jews

2.5 rounding up to 3. Undeniable talent, but left me cold - too much artifice.

Dang, what a voice. Great instrumentation as well, super tight band. Difficult to fault.

Sensational

Slightly generous 4 maybe, but I like how this seems to naturally fuse pop with 90s electronic music. Very of its time, but feels authentic

Kinda oasis but better - not a fan of britpop and didn't like this on release, but the songwriting is so good it's aged well

Keith Moon is a great rock drummer and the cover of Young Man Blues slays, but this didn't wow me quite as much as I expected

The disco tracks are 5/5 alltimers, the slower pop songs are predictably sexless and bring the album down.

Really enjoyed this, surprisingly so considering I know nothing about traditional country music. Will explore more!

One of the first albums that turned me onto music. It's not perfect (I'd probably go 4.5) but the highs are stratospheric

Pretty good, but of interest more as spot the sample than as an album to enjoy. The iron butterfly cover is sweet though

Personal Jesus & Enjoy the Silence are bangers, but the rest didn't do much for me at all 2.5

The title track is part of the modern canon, but there's so many versions they all merge together - not sure I've ever heard the album version before; it's definitely WAY overproduced and quite weak compared to more pared down covers. Discovered a DJ Shadow sample on El Condor Pasa too! Hiding in plain sight. I enjoyed this in the main but not something I'd ever choose to listen to

Takes a while to click but once the fug clears it's great, love the grooves and just the general vibe. 3.5 rounded up

Still stands up, very fond memories of this as a teenager - was lent it from a friend and it felt genuinely dangerous to listen to.

3.5

Peerless country soul

3.5

Borderline perfect

Desperately bland