Really enjoyable. Reminds you how little has changed in politics since the 70s. (Could not find on Spotify, YouTube link here: https://www.youtube.com/watch?v=WnkDjMDD3JQ)

Honestly just the blandest thing I've ever heard. If a yogurt made a sound this would be it.

Not sure if music from this period is bad or if I just didn't like it. But I did not enjoy this one bit; bland, pretentious, and needy. The early-00s equivalent of easy listening.

Ridiculously fun and energetic, a missing link between metal and dance. Like throwing a box of firecrackers into a bonfire. One of the best discoveries I've made here, I just wish I'd been into them at the time.

Aggressive, noisy, raw. To start with. Slides into mediocre lager rock which is alternately boring and annoying.

Pretty much different variations of the same song over and over again. Mixing is very flat. Got bored.

Perky jazz. Very NYC.

Wanted to like it more but it's a bit too indulgent and tuneless.

Joyful!

Really enjoyed this. Mrs Robinson still sounds fresh. Was not expecting synths!

Flamboyant and beautifully produced. Joyous.

Enjoyable. Wish I hadn't listened to the album with bonus tracks though as it's far too long.

Very samey, hated that sound effect they used on most songs.

My flatmate at uni was a big fan of this, but I have only a vague recollection of it. Enjoyable, though, very raw and aggressive in places, in a good way.

Occasionally very cheesy and soap opera-like, but fun and funky nonetheless.

Aggressive, noisy, raw. To start with. Slides into mediocre lager rock which is alternately boring and annoying.

I want to like U2, they just make it so difficult sometimes! After an epic start it nosedives into Bono at his most indulgently awful, punctuated by a few decent singles.

A silly but perfectly formed blast of death metal. It sounds like there are too many lyrics for each song. Can't believe it came out in 86, it still sounds fresh.

A carnival of musical styles that has much more range than the lead single suggests.

Bouncy, fun, silly.

Perfectly formed psych-folk-pop.

On a Neil Young trip at the moment! He seems to be one of the few artists whose live performances live up to the recorded versions.

What I love about SOAD is that the vitriol is coming from a genuine place. They're not just overgrown teenagers ranting against their parents.

Debauched jazz; runs the gamut of emotions while being sonically perfect. Fuckin a.

Production and assembly is great, and it's a (rightly) angry album, but the shameless sexism is not a good look now.

So much funk. Very ahead of its time.

Oh my god this goes on forever. He's not a great lyricist, is he? Will this ever ennnnd...

Punky, upbeat glam pop, definitely an influence on Supergrass and Franz Ferdinand. Irresistible.

The height of 80s slick production contrasts perfectly with her powerful voice. I wasn't keen on the covers though.

Hmm yeah, kind of not really my thing. I remember it being very fashionable to like this though. Maybe I need to see the film.

Honestly just the blandest thing I've ever heard. If a yogurt made a sound this would be it.

The Cure before they discovered the playfulness that gave them hit singles.

Boring 80s pop

Very much of its time, still quite fun though.

Very late-90s; watery.

Solid

Short, sharp bursts of funk. I'm generally not a fan of live albums, but this one's worth a listen just to hear the sheer amount of fervour Brown generated.

Great country music for Lego building with my son on a Saturday morning.

A nice sound, but it gets a bit samey after a while.

Very chilled out folk, occasionally dark and deep.

Dour

Great fun

Very Tim Burton-esque soundscapes. Their formula wears a little thin in the middle, but the album is better than I remember it.

Finally! I've found a U2 album that doesn't make me want to stab my ears out.

Incredibly entertaining.

I always assumed this came out in the 80s, but it makes sense in the mid-70s, exactly halfway between Dylan's folk heroism and swaggering stadium rock. Born to Run is a terrific ode to the small towns where the American dream has come to die.

Jazz-blues, blues-jazz. Definitely an influence on Led Zep. Annoying bonus tracks on Spotify.

Lovely jazz, less showy than Miles Davis.

Bouncy folk-rock with an charming roughness. But I had to skip Fairytale; I've heard that song far too many times and I hate how overexposed it is. It's probably the weakest track on the album as well.

I was enjoying this until I got to "Teacher's Pet," which made me barf. Scarier than all the naff black metal stuff.

Loved every minute of this.

A bit too chill for me. Prefer Nick Drake if I'm going down that route.

Bjork at her most Bjorkish. Wears a bit thin in places, no real standout tracks, and it was about this time that Goldfrapp took it to a more interesting place.

Some decent singles, but his voice is still way too annoying.

Sweaty. Basically lots of different versions of Two Tribes (no bad thing!) and some utterly redundant cover versions which ruin the tone of the album and stretch it out too much.

Knew the theme from \"The Exorcist,\" but wondered how Mike would fill 50 minutes of record. But he does and it works well, with surprising range and depth.

Doors-esque psych-rock. In-A-Gadda-Da-Vida is a sleazy, slinky classic.

Very well-produced with a distinctive, unique sound. Sags a bit in the middle, but the dour, haunting singles make up for it. Much better than the town it's named after.

Pretty good, but very much of its time.

I'm beginning to realise that Belle and Sebastian aren't quite as twee as I first thought. I liked this, but I get the feeling there are better B&S albums.

Not bad! Couldn't find any stand-out tracks though.

I was sort of dreading this after her more folksy albums, but it's kind of perfect. The sort of thing Air were trying to do, minus the tongue-in-cheekness.

Absolutely perfect in terms of consistency of tone, never outstays its welcome.

Slightly farty prog rock. Great fun.

Puerile, cheesy, and raucous. Love in an Elevator is fantastic though.

Not sure if music from this period is bad or if I just didn't like it. But I did not enjoy this one bit; bland, pretentious, and needy. The early-00s equivalent of easy listening.

Exactly what the future sounded like from the perspective of 1982. Technically impressive and ridiculously sexy.

Another not-great album from the early-00s. Schmaltzy and overwrought.

Definitely growing on me, it has a whimsical charm.

I remember this sounding like the future when it came out. It still sounds fresh, but time has tamed it. Runs out of steam and becomes irritating in places.

A bit dull.

So much texture, enthusiasm, and charisma. Moves so fast, freewheeling and joyously so. Made me smile so much.

Surprisingly croonerific. Not all albums from this era are that good.

I remember my muso mates turning their noses up when they saw my copy of "Iowa." They were wrong. "All Hope is Gone" is better than "Iowa;" less childish and more range. What sets Slipknot apart is the contrast between the crunching, wall-of-sound death metal and the smoother, more melodic elements. A bit corny and overlong, but enjoyable nonetheless.

A weird, spidery album that delves further into the late-night freakiness that Lou Reed initially tapped. Love it.

In which Dwight advocates killing unfaithful women. Maybe they'd have more respect if you weren't such a murderous shithead, Dwight.

Women were so much better at punk than men.

Somewhere between Radiohead and MGMT. A nice sound and great vocals, but I couldn't find any standout tracks.

A match made in heaven — or hell. Metallica's overblown songs meet Kamen's OTT orchestration. Ridiculous fun and hugely impressive technically and logistically, hits its grunty nadir with "For Whom the Bell Tolls."

TV on the Radio were one of the more interesting bands of this era, and I liked that the indie genre became a bit more diverse. But this album seemed to have quite a lot of filler.

Just wow. Every verse is a surprise, but it also manages to work in some tender moments. The best CSN&Y album I've heard. So far.

Really enjoyable. Reminds you how little has changed in politics since the 70s. (Could not find on Spotify, YouTube link here: https://www.youtube.com/watch?v=WnkDjMDD3JQ)

I find Elvis Costello a little annoying. This was ok.

Loved the singles from this at the time, but I never had the album. They were so different to everyone else at the time, the kind of rock and roll Primal Scream road tripped, but with a hint of ska. Loses a bit of momentum after the first three tracks, but still one-of-a-kind.

So talented! Every song sounds like a blueprint for Bonkers, but without its overexposure and catchiness.

Fun

Angular post-punk, probably very influential but it felt a little slight to me. One track sounds like Seinfeld slap-bass made into a song.

Great title! Dull and predictable album.

What a slog. The Smashing Pumpkins barely have enough material for one song, let alone a 2-hour plus album.

Went for the stereo version. So many good songs it's hard to pick a highlight. Beautiful, genre-bending music that was way ahead of its time but also nostalgic.

Grunge was a reaction against stadium rock, and this is a reaction against grunge: small-scale, personal, lo-fi; with an air of reluctant self-pity replacing anger.

Terrific voice, but the songs all start to sound the same after a while. It's a shame we never got to hear her doing more experimental and interesting stuff. And we missed out on a Bond theme!

I like the way he rhymes "friend" with "end" and "fire" with "fire."

Probably should have listened to this before Christmas! Good though, a nice change from the heavy rotation Christmas songs of the 70s/80s/90s.

One star for the "Money for Nothing" intro. The rest is insipid, cringeworthy music for 80s dads to listen to in their Ford Cortinas. Not sure why a band from Newcastle are trying to sound like they're from Nevada too.

My favourite Beatles album is "The Best of the Beatles" (from the ages of 7-11 it actually was because it was the only one we had on tape). I was excited for "The White Album," and the crescendo of "Back in the USSR" followed by the melancholy crush of "Dear Prudence" (my favourite Beatles song) is a hell of a way to open an album and set its tone. But there are some duff tracks here too: "Ob-La-Di" and "Piggies" have dated awfully, and I'm sad to say I found the whole thing more irritating than enjoyable.

50% decent hip-hop with a touch of trip-hop, 50% utter cringe wannabe gangster. It gets a star for being a welcome antidote to the bland indie that dominated UK airwaves at the time.

Ushered in a new era of bland, limp-wristed, badly sung indie. Too many songs about stars. Did not like one bit.

Love it. Boundary pushing indie pop; jaded romance.

I never got on with Elbow's first album, and it out me off listening to their later stuff. But this is phenomenal and I wish I'd given them a second chance at the time. The only track I don't like is "One Day Like This," which EE used as its hold music and I'll forever associate with stressful calls.

Feeling ill, so I'm listening to this and reading Dickens. Somehow they go together!

One of those albums that seems a lot scarier than it is.

My knowledge of The Doors is embarrassingly poor, but this seems like a step away from psych-rock and towards noodley blues.

Wonderful, mournful 60s blue-eyed soul. You Don't Own Me is chilling and perfect.

Razor-sharp, unpretentious heavy metal.

I'm guessing there probably wasn't much like this when it came out, and it still sounds fresh and vibrant. Occasionally gets a bit Muzaky, but I don't think this detracts from the album overall.

Just the most lost-sounding album in the world; distant vocals amid swirling guitars. Occasionally a little too discordant, but impressive and influential overall.

What an unexpected delight. I love the way "Without You," probably the definitive modern love song, is followed by the playful absurdity of "Coconut," then "Jump Into the Fire" takes us on a psych-rock odyssey. And it does all this without ever losing its focus or missing a beat.

Jazzy trip-hop with a distinctly Parisian twist. Has not dated nearly as badly as other music of this era, moves along nicely, but it is too long.

Not quite as coherent as III, but it makes up for it in the heavenly heights the songs hit.

Big Mouth Strikes Again is probably The Smiths' best song (and yes, that includes How Soon Is Now?), but Frankly Mr Shankly is probably their worst.

When I first listened to this about 10 years ago I wanted to like it more, but found it too schizophrenic and irritating. On relistening Rundgren's genius really shines through. I love the fact that it doesn't sit still and changes direction so many times, but still manages to work in some decent tunes.

Groovy.

If you can't listen to this without at least tapping your foot, you're not alive and probably a zombie or vampire.

Love the diversity of the samples, the bravura of the production. I think the way it pushed things forwards just about overcomes the nasty, dated lyrics.

It's like someone put The Beach Boys in a blender, then baked it. Love the texture.

60s music was really good, wasn't it? This is powerful but effeminate without ever being cloying.

Exactly what my brain needed on a stressful Wednesday morning. Orbital are at their best when they're doing more chilled-out stuff.

My Dad had this on vinyl, so it got some heavy rotation when I was about five. Now, the tentpole tracks (Born in the USA, Cover Me and Dancing in the Dark) lack the punch I remember, but I'm on Fire is an absolute masterpiece; Springsteen baring a vulnerable heart underneath his gruff exterior.

Listened to Sticky Fingers a lot at uni. It makes you feel dirty just by listening — and it's all the better for it. The remastered edition on Spotify is a bit unnecessary, I prefer the heroin-fuelled rawness of the original recording.

Not usually a fan of live albums, but this one is essential. Its acoustic nature strips Kurt of his electrified anger and softens Nirvana's rough edges, revealing something more tender. The covers, in particular "Man Who Saved the World," fit in perfectly too.

One of Eno's best collaborations, with David Byrne and the entire continent of Africa adding a vital funk injection.

Stirring.

There's something very sweet about Gary Numan, he was a musician who was unafraid to embrace his inner nerd. This album is a little underwhelming, probably because other artists have remixed and amped up his songs.

A less weird Kate Bush. Some decent tunes, especially Little Earthquakes, but there are some boring ballads too.

I've always been put off KISS by the way they look. But I realised that this is quite judgemental of me and these poor people must have suffered throughout their lives due to their unusual facial pigmentation, incredible hair, and malformed feet. Anyway, this album is decent; well-rounded and nicely paced with tight production. And it doesn't sound like I expected a KISS album to sound.

My Mum played a lot of Baez when I was growing up, but, being 10, I never really saw the appeal. This album really clicked for me, though; it's very straightforward, but her pitch-perfect voice and skills as a guitarist elevate it to stratospheric levels. What's more is that it has a level of authenticity and sincerity that's sorely missed in modern music.

Girl From Ipanema is very good, it feels bright and sunny. Lost interest after that though.

Started listening to this yesterday, found it nightmarishly horrible and had to switch it off, but I was not in a great place. Picked it up again today and enjoyed it a lot more; despite Sinatra's reputation, there is something heartfelt and sincere about his songs and the way he sings them. I like the way it tells a story as well.

A confession from someone who considers themselves a Pixies fan: I only ever had their "Death to the Pixies" compilation, and I always thought it was enough. Then I saw them live in Cardiff in 2016 and did not enjoy them one bit, there was no audience engagement or energy. But this album has reaffirmed my love of Pixies; it's nice to hear the classics from "Death to..." alongside some songs I've never heard before, all of which are good.

Somehow I'd never heard her before, but she's got a unique voice paired with intelligent lyrics.

I'd heard this before, thanks to The KLF and Primal Scream. It really is phenomenal, lightning in a jar energy. Wish I'd been there, dude.

Given my recent Talk Talk revelation, I thought I might like this a bit more. But I didn't. Bland, unchallenging, meaningless music.

Sorry, I just don't see the attractions.

I'm always wary of albums with the tracklisting on the cover, but this one's pretty good. Read the Wikipedia page and the guy was a scumbag. Next.

No fucking clue what he's singing about, which is a good thing as I didn't get distracted by the lyrics. Technically impressive for a live album too.

Try as I might, I always find Queen more irritating than interesting.

Promising to start with, but overlong and occasionally horribly misogynistic in a "hey I'm playing a character" way, which seems even worse.

Relaxing and soothing; could have been recorded any time between 1965 and now.

Liked this a lot, feels (and looks) like a very 90s alt-rock album even though it was recorded in the 80s.

Enjoyable gentle rock.

Dynamic, engaging pop rock. Well ahead of its time. One of my new favourite bands.

God I wish I still did drugs

Unexceptional blues rock

Easy to see why they were such a hit: a set of punchy pop tunes that wouldn't upset your mum too much. I think I prefer this to their more experimental work.

Hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey

I'm old enough to remember when this came out, and was absolutely everywhere, and I absolutely hated it at the time. Listening to the whole album reveals it's not too bad; it has a certain ADHD energy and Kleidis is a surprisingly sharp lyricist. But every song relies on the same formula, which wears a bit thin, and it's far too long.

I enjoyed this more than the Simon and Garfunkel albums I've heard; more meaty diversity and texturally superior.

A machine gun of hits.

Interesting to start with but soon became almost soporifically boring. Just platitudes set to music.

The standout tracks just about overcome some horrible midi sounds.

So it's not "Coming in Jamaica."

I had an annoying, unidentifiable song permanently lodged in my head from 2013 - 2019. It turns out it's "Rock the House." Good to have some closure. I like the album otherwise, a nice halfway house between trip and hip hop. "19-2000" is a forgotten gem.

A lot more depth and breadth than I was expecting from "There She Goes" and Cast's output. A northern REM.

Somehow, I'd never listened to this. Really liked it; raw punk, but with cerebral credibility.

Funky folk by funky folk. Reminds me of Alan Parsons.

I like the concept, but parts of this have dated awfully, especially the "humourous" bits.

Decent.

I did listen to this, but I forgot to review it. The singles are good, from what I remember.

"Dreamin'" is so, so bad. But "The Message" is so, so good.

Not what I expected, soul with a hip-hop edge. Much more subdued and subtle than her sister's more bombastic work.

Steady rock. Not quite as flamboyant or emotional as their later work

Nicely laid-back songwriting from a racist prick.

Loved this. Eastside rap was a lot more cosmopolitan than west, and I preferred its sound. Mama Said Knock You Out still sounds great, while Milky Cereal is great fun.

My expectations were low, but this album is stunning. Sounds as if it could have been recorded in 2001, alongside The Strokes et al.

Never really got this. His cover of "Hallelujah" is heavenly, but the rest is messy and unfocused. It's better in its quieter moments, the louder bits are sub "Pablo Honey"-era Radiohead.

Decent 70s chill.

This kind of music seems to be in a no-man's land between classic and modern. At the time of writing, it's cringeworthy heartfelt saccharine pop-folk without a hint of irony or authenticity.

Irresistible jazz with an electronic edge. Groundbreaking and essential.

Better than most other albums of this era, less whimsical and more muscular.

A halfway house between The Clash and Rage Against the Machine, that refocuses hip-hop's anger against the establishment and corporations. Still as relevant today as it was 30 (!?) years ago.

Decent, but I'm getting a bit bored of blues/folk live albums.

An interesting album, at least 17 years ahead of its time.

Decent but not essential.

Good lord this made me want to drink beer in the sun.

Great fun.

Astonished by how much I enjoyed this, it was never not interesting. Still not sure if they're racist though.

I had this at the time; I sold it (when that was a thing!) because The Prodigy just felt like one-trick ponies, with very little muscle behind their aggressive sound. Now, the singles (Smack My Bitch Up, Firestarter) just feel quaint and cute and kind of funny. But I was surprised at the depth of the rest of the album, there are some decent tracks on here, especially the Crispian Mills collab. Which is something I never thought I'd say!

So many hits here. Unbelievably good.

Made me feel uneasy, but I'm not sure if it was because I was feeling uneasy anyway.

Indulgent and slightly irritating. Not entirely convinced that this list needs more than one Bjork album.

The cover of "You Really Got Me" got me, wasn't quite so keen on the rest though.

Remember when it was funny to pretend to be a wife-beating, drug-addled psychopath? No, me neither.

So smooth and enjoyable to listen to. Love the way each track builds the elements.

I was listening to this yesterday and I thought it sounded very familiar. Checked my Spotify history and it turned out I'd listened to it the day before without realising it! It was a stressful day. Still a good album though.

Loved this, especially its more psychedelic odysseys, which reminded me of Circle and Pharaoh Overlord.

Reminded me of My Life in the Bush of Ghosts a little bit. Sting really fancies himself though.

Interesting music that just about covers up the terrible lyrical content.

Loved this

Probably my favourite album of all time. Still holds up, so completely alive

Ah, this was brilliant. So laid-back and enjoyable.

Nice to hear a female voice in hip-hop. Occasionally discordant and a little too long, but I liked it, especially the first track.

One of the most incredible musical moments of my life was hearing "Intro" echo across Glastonbury's fields at the close of the 2013 festival. It was a fitting coda for a weekend of excess. The rest of the album can't quite match the lofty heights of "Intro," but it the XX certainly had a unique sound and pushed things forwards a little bit.

Not really a fan.

The title track is a mainline injection of pure late-80s nostalgia; neon socks and fake Wayfarers. The rest never hits those lofty heights, but it's enjoyable and slickly produced.

Not as gothy as I thought it would be. Still a unique voice and sound though.

So Täp

Just so many hits here! What a great album.

I don't think famous means what Leonard Cohen thinks it means.

I think their greatest hits would have been a better option here. It includes the Father Ted theme song.

His best album. Into Your Arms is just the prettiest song.

Great stuff

Faith is great, but Father Figure is the real highlight here, such an awe-inspiring love song. The rest is a bit hit-and-miss.

This list really doesn't need this much Springsteen!

I've come to the conclusion that I really hate Elvis.

Interesting, but I don't feel it adds much to her output with The Velvet Underground.

A bit overlong, but still an interesting album. It has more in common with Beastie Boys/Money Mark than their Britpop neighbours.

Probably the best Public Enemy album.

The fuck is JK worth $70m for producing this dirge. Some bloke singing over a thrift shop jazz record. If you want to stop the Emergency on Planet Earth, stop landing your fucking helicopter on wildlife.

Ranty, arty music.

This isn't an album, it's a fucking ordeal.

I bought this when it came out, at the time house music seemed adventurous and mysterious, but Basement Jaxx gave it a geekier and more accessible edge. I think because Felix wears glasses. There are some duff tracks, but there's just enough intelligence and sophistication here to elevate it above the standard Ibiza floor fillers.

Astonishing

Still great

I hate "Come on Eileen," but I was expecting to be pleasantly surprised by this album. I wasn't.

I love the way Abba have gone from brilliant in the 70s, to cheesy in the 90s, and back up to brilliant now. Every song is perfectly written and flawlessly executed.

Surprisingly varied

As much as I like Bjork's solo work, this indie pop is a better match for her fiery vocals. An absolute treasure.

So enthusiastic and light and breezy.

The Beatles: 50% the greatest songs of all time, 50% chintzy whimsy that makes you want to thrust chopsticks into your earholes.

So very, very 90s. A man screeching over a drum.

People in the 60s clearly didn't know how to clap properly.

Not really my cup of tea, but enjoyable nonetheless.

Many tracks missing on Spotify, but what I heard was decent.

Love the way the tracks merge into one another, perfectly executed.

To be honest, I wasn't expecting to be a huge fan of this based on the overplayed "Superstition" and "You Are The Sunshine of my Life," but it really is an incredible album, flowing between moods and genres with ease. It sounds great and his voice is terrific.

I had to wade through almost an hour of boring indulgence before I got to "Paper Planes," and even that song is basically a cover.

The NME always put me off Soundgarden, presumably because they weren't British and ugly and terrible. But I feel like I missed out now, I love the range of Cornell's voice and the power of the production. It does outstay its welcome a bit though.

For the past 35 years, I honestly thought that the lyrics we're "shot through the heart, and you're too late, you need lovin', and band-aid." I thought this was very clever and ironic because, obviously, a band-aid wouldn't do anything for a bleeding heart. But it turns out I was wrong, and this album sucks.

I remember this being a thing. Not overly keen though, there's little variety.

Like being wrapped in a blanket. Wonderful.

Pretty good. "The Man Comes Around" is a total rip-off of "The Claw" by Ten Benson though.

Very good, terrific in places, but I still prefer Talk Talk in terms of London bands with repeating-word names.

Good, very Sex Pistols, completely unsurprisingly.

Groove is in the Heart is a great song, full of life and musically diverse. The rest of the album is the opposite of this; moribund, repetitive, and completely absent of ideas. It's forgivable as the genre was still finding its feet, but I don't think this album should be on the list.

They're having such a great time and I just want to be there with them.

So this is where the Blade Runner soundtrack got most of its ideas.

Occasionally patchy but decent overall. I was surprised at its more electronica elements.

Not sure this is essential, but it's an interesting time capsule of hippie-era San Francisco.

In the no-man's land between metal, soft rock, and grunge. Utterly cringey in places.

Gave me flashbacks to a really awful trip I had in the 60s. I've never taken acid and I wasn't even alive then.

Prog rock with a dose of 80s cynicism. Pink Floyd without the irritating bits. Absolutely loved it.

I think Perfect Day is a perfect song. So bittersweet. The rest of the album is great as well.

So many juicy samples for other artists to pluck from the Incredible Bongo Tree. Great to hear the originals.

Justice did Daft Punk when Daft Punk stopped doing Daft Punk. I like this album; it's coherent. But the French Touch sound was wearing a little thin even at the time of release.

Cash is funny and charming, but I'm not sure two live prison albums (San Quentin is the other one) are needed here. It's a bit niche.

Better and more varied than expected.

I had no idea this was a thing. It's quite well-formed and catchy.

Enjoyable prog.

I loved Smoke on the Water, until my guitar teacher pointed out how mundane the subject matter is (there was literally smoke on the water!). But this album has rekindled things between me and DP. It's proper, straightforward rock that never becomes too cheesy or indulgent.

Any album that features Iggy Pop singing "Aisha, I'm viiibraaatiiing" gets five stars by default.

Definitely growing on me, it gets more interesting every time I hear it. Love the unpredictable key changes and the way the whole thing is out together. I listened to this on YouTube Music, with ads. Totally respect Neil's decision to avoid Spotify.

Absolutely loved At The Drive-In, so I'm not sure how this passed me by. It's great though, lots of scope and variety on top of ATDI's distinctive sound.

Very much a nostalgic album for me. I have a bizarrely specific memory of driving to Hartland Point with my parents while listening to this. Which isn't to say it's good. Beetlebum is better than I remember; Song 2 is worse, time has softened its grunge punchiness. The rest is patchy as hell, often irritating, and low on ideas. Still better than Oasis though.

This is great, not sure how I hadn't heard it before. Reminded me of George Michael in a lot of places.

Very middle of the road trucker music.

30 minutes of Elvis. Doesn't outstay his welcome.

This was a few days ago. Obviously didn't make much of an impression.

I've always liked PJ Harvey, but never enough to listen to her albums. This changed my mind, in a good way.

Two PJs in one day! This one was great, grunge with a distinctly British and feminine twist. Absolute legend.

This was massive in the UK for a bit, but somehow it completely passed me by. It was better than I expected; the connective tissue between Oasis and Elbow.

So far ahead of its time that I don't think its time has come yet.

Almost 60 years old, but you just get an immediate sense of BB King's power and what he was doing differently.

Gets points for somehow straddling riot grrl, grunge, and britpop; loses them for some truly dreadful album filler tracks. "Queer" and "Vow" are their best songs.

This was the first album I ever bought. Eight years old, WHSmith in Barnstaple. It terrified me (I was a sensitive kid). I rediscovered it about 12 years ago and appreciated it more. It's anthemic stadium rock delivered so slickly that you don't realise how moronic the whole endeavour is.

Is Kate Bush always this prog? It's great!

If I had a time machine, my priority would be making my 16-year-old self listen to this absolutely masterful recording. After that I'd go back and kill Hitler etc.

Found this a bit meh. Just sounded like Dylan.

I have no recollection of this woman or her album. But it's pretty good.

How is this 12 years old!? Definitely a 21st-century album that deserves its place here. Delightful and texturally unique.

I was fully expecting to hate this, but it was better than I expected. What's interesting is how Skin kind of kick-started UK hip-hop artists such as Stormzy and Dizzee Rascal, even if the genre is different.

This is the only album I've skipped so far. Yes, Eminem is talented, but then you could say Hitler was a talented politician.

If you had a drink every time someone says the word "space" on this album, you'd basically end up evaporating. It's great, though, surely an inspiration on Star Wars and Flash Gordon and other sci-fi of the era.

I had the special edition of this, where the CD was contained in a blister pack, like a giant paracetamol. We listened to it on the way back from an Unbelievable Truth gig, it sent my dad to sleep and he crashed into a hedge. It's still a great album. I was 16 when I first heard it, and it sounded how I expected love and drugs to be. The album can't quite maintain the starburst of its first three tracks, but it still switches between heartracing and heartbreaking. It's the album Primal Scream, The Verve, and Kasabian wish they made.

I could never quite bring myself to like Muse, they always struck me as a Radiohead clone with greater technical ability but less heart. This album is pretty good though, it's ambitious, progressive, and very Queen in places.

Interesting that this should come up so soon after Spiritualized's "Ladies and Gentlemen...," which nabs some lyrics. I like this as well, it's country rock with a venomous streak of 'nam-era cynicism and a biting sense of humour.

I like the way 70s-era Stones is seeping into this one.

Far too indulgent and proggy. Every now and then it threatens to have a nice melody, but soon turns back into egocentric dirge that probably seemed like a good idea at the time. And then Phil Collins starts singing about erogenous zones 🤢

I was into this album after it was released, but before Stranger Things made it popular. Doubling down on hipsterism. Is hipsterism still a thing? Anyway, album is good.

Good, but a little dated in places.

Finally, a Beatles album I can get behind. Very few of the dated, cloying songs that I hate so much.

Every song sounds like it's going to be "Relax" by Frankie goes to Hollywood, but they always turn out to be better.

Honky tonky

Understanding Pink Floyd's origin story made me like them a bit more. And then Bike ruined everything.

I have no recollection of listening to this album and I wasn't even drunk

EVERYTHING IS SO DRAMATIC AND HOW DOES ADELE GET THROUGH A DAY WITHOUT WARBLING

Can timelessness be a bad thing? This sounds like it could have been recorded any time in the past 40 years, but not necessarily in a good way, just in an unchallenging way.

Ridiculously fun and energetic, a missing link between metal and dance. Like throwing a box of firecrackers into a bonfire. One of the best discoveries I've made here, I just wish I'd been into them at the time.

Split up with boyfriend, throw troll at 14-inch TV with built in VHS recorder, watch Friends, have terrible hair, get shot by your brother's supersoaker, listen to Alanis Morissette. Because it's great. Especially You Oughta Know. And the typewriter font everyone used everywhere.

Just absolutely grabs you by the throat and doesn't let go.

She's great fun and very charismatic, but I'm not sure why all hip hop albums of this era needed to be so long.

This was so boring I actually died. When the paramedics resuscitated me they told me I was the third person that day who'd died of boredom while listening to Nixon.

This is exactly what I imagine a 1980s arts college in northern England would sound like. Amazing in its own way; it almost verges into hip-hop in places. RIP MES.

Enjoyable and full of heart. Could not find the full album on Spotify, YouTube link here: https://music.youtube.com/playlist?list=OLAK5uy_lPdfiWy1WS-WR8Fwg3GAGWZKKYB3tngiU&feature=share

Reminds me of summer 1954, when I cruised around the Amalfi coast in my convertible Fiat, wooed beautiful Italian women, and did other stuff I completely made up for the purposes of this review.

Incredible. The more I listen to music of this era and genre, the more I realise how unoriginal The Strokes are.

Variations on a theme, but it's a great theme (and one you've heard everywhere).

Actually not bad. Very much of its time, but it's easy to see why they were so popular; Fred Durst's cartoony, juvenile persona matched with punchy, compressed guitars and flawless production.

This album is so tight that it made me pass out.

Not bad, not great. Bit dated.

This just has such a nice vibe that it gets away with sounding like the soundtrack to The Jungle Book/The Lion King.

I had this at the age of about 21 as part of the Peel Slowly and See boxset. It's still amazing, a gritty backlash against the staid pop that dominated airwaves in the 1960s.

This was not what I expected, but then I didn't really know what to expect. I quite liked it though.

Still not a huge Elvis fan, but I appreciated how fast this moves.

This is great, very Led Zeppelin, maybe with a little less variety, but Ozzy's charisma makes up for it.

This doesn't look like a Neil Young album, and there are places where it doesn't sound like one. In a good way! Very enjoyable. YT music link here: https://music.youtube.com/playlist?list=OLAK5uy_n1S9ljyNSBHJ-FKC5l44V500jlmEBtt-0&feature=share

Green Day are another band the NME made me hate. This is great, raw and aggressive, and I feel sad that I missed out.

Surprisingly experimental and electronic, and quite raunchy.

Graceful and soothing.

This is the third PJ Harvey album I've been recommended by the generator, and it made me wonder if the list really needs three PJ Harvey albums? And the answer is yes. Yes, it does.

This is better than the other Costello albums on here. I'm still not a fan, but I'm beginning to understand why people like him.

Here's a fun fact I probably shouldn't admit: I used to think Utero was a city in America, and that this was a live album. This is still an absolute kick in the balls of an album, more aggressive and weird and artistic than Nevermind; Cobain's recorded suicide note. If Nevermind reflected teenage angst, In Utero is about adult anxiety.

AKA Cool Bass Sounds: The Album. This definitely pushed dance music forwards and it's better, and less cringeworthy, than The Prodigy's output at the time. But the production sucks. It sounds like it was mixed more like a rock album than a dance one, and the drums sound especially washed out and lost in the mix. It makes you realise how much the French Touch improved the genre by applying a lick of polish.

Why are all the hip-hop albums of this era so long? They're always an hour plus, and there are inevitably a few obvious filler tracks. The tracks that aren't obvious filler tracks are good though.

Annoyingly, I only listened to Ray of Light a few weeks ago. Too much Madge! This album perfectly encapsulates the late-90s tech-spiritual zeitgeist, something Moby would build on. Some tracks are great (Ray of Light, Nothing Really Matters, Sky Fits Heaven), others seem to have been recorded by a 12-year-old girl with access to a studio.

This reminds me of a classic southwestern UK joke about Simon & Garfunkel having engine trouble over the Somerset town of Bridgwater. It's a terrible joke. But the album is good! Too many good songs to choose from, some that I didn't even realize were performed by Simon & Garfunkel. Don't ask me for specifics. I just liked it.

Linkin Park's sound is very well-polished, but I found this album relentless and exhausting. Maybe that's the point; I just wish it let off the gas for a little bit. I hate to say it, but I think Limp Bizkit are a better nu metal band - at least they knew how to have fun and injected some variety into their albums.

I remember owning this at the time and selling it after the first listen. But time has been kind to it. It helps that the songs aren't played literally everywhere, all the time, like they were in '99. (I'm currently sitting in a Caffe Nero in Bristol and a man keeps trying to make conversation with me, which is distracting.) Anyway, I really, really love "Honey" and "Run On," and I did at the time. They're doing something interesting and unique with folk and blues. "Porcelain" can fucking do one though, namby-pamby spiritual advertisement shite.

I enjoyed the bits that weren't weird.

Just exactly what blues should be. Frantic, convivial, frenetic fun.

I've never been massively into reggae, but I enjoyed this. Absolutely, convincingly doing its own thing while being tuneful and accessible.

Definitely standing on the shoulders of the Beatles, but it has just enough baroque touches and acerbic humour to make it a bit different.

I feel like taking part in this project has changed my Spotify recommendations algorithm to the point where it's started pumping out tracks from albums on the list. Case in point: "Heatwave" by The Blue Nile, which I've definitely heard before, very recently. The album is good though, its percussive soundscape still sounds great and ensures it hasn't dated as badly as music by The Blue Nile's peers. I also assumed they were from downtown New York, not the highlands of Scotland.

I think this was the point where I realised Radiohead had completely ran out of ideas, other than novel internet distribution methods. "All I Need" is OK, the rest is bland, indulgent, forgettable twaddle. Thom Yorke's lyrics are just interlinked platitudes.

This is the Taylor Swift album you've been looking for. Less strummy folk, more polished bubblegum pop, and "Shake It Off" has to be her best song. I do still wonder how Taylor's had her heart broken so many times without dying though.

Intelligent folk rock, pretty good.

Never not fun. The volume is oddly mixed though.

My son summed it up well when he asked, "Does this band have any good songs?" It's mostly intensely irritating clown music, with a couple of soppy melodramas. "Girls and Boys" is a definite highlight, but it's downhill from there.

POV: It's the 90s and you've just moved into a new house, so you put on "Moon Safari." You're making a television program about moving into a new house, so you put "Moon Safari" on the soundtrack. You're having a bath, so you listen to "Moon Safari." You want to imagine what it's like to be stoned, so you put on "Moon Safari." Or you put on "La Femme d'Argent" and "Sexy Boy" and "Kelly Watch The Stars" and skip the rest. When it's good, it's great, but tracks like "You Make it Easy" are hard to like. "10,000 Hz Legend," Air's follow-up, is better, even if it sounded worse at the time.

Not a bad album, but not an exceptional one. There is too much Costello here.

Great, well ahead of its time. Felt the influence on REM, as well as another band that completely escapes me. Another 1001 gem.

I just always thought of 808 State as the Pacific 202 band, and little more. But this is a great album, and Pacific 202 actually proves to be one of the weaker tracks.

I remember first listening to this about 15 years ago and enjoying it. Sumner's not the best lyricist or vocalist, but his boyish charm makes up for it. It sounds great as well.

Good, but not as good as I thought it might be with that line-up.

I only got into Sonic Youth quite recently, and I couldn't quite get through Goo because of its more artsy, angular bits. But now I love those bits as well. "Tunic" has got to be one of the saddest songs ever.

I loved Goldfrapp's first album; it was retro and modern in a way that hadn't really been done before. The follow-up went in a new electroclash direction that was just as good. Somehow, I never heard this, but it doesn't feel quite as adventurous as the first two albums. Instead, it plays it safe with Radio 2-friendly pop.

Very likable and an interesting sound, just not entirely convinced about their abilities as songwriters. "Been Caught Stealing" is the exception that proves the rule.

Good fun, but, like a lot of 80s metal, it's a bit quaint now. "Run To The Hills" was the soundtrack to many drunken nights in rock bars in my early 20s.

Really liked this. Hip-hop from this era seemed to soften a bit, in a good way. Appreciated the 45 minute length as well, just right.

Ya like 12-bar blues?

I feel bad for saying this because I've grown to like Metallica, but "...And Justice For All" should be called "...And Boredom For All." Never has metal been more unexciting.

Just enough rock to outweigh the annoying folk.

Started out ok, but progressively grew more annoying. If I had a time machine, my priority would be to go back and tell Annie and Dave to cut it short.

If I was 16 and drunk on cheap lager this would be the best thing ever.

If Motörhead didn't exist, it would have been necessary to create them. Some huge Norwegian blacksmith hammering the band out of Marlboro reds, Jack Daniels, gunmetal, and heroin.

I like Iggy Pop, but I did find this a bit meh. Nightclubbing is a highlight.

This was the PJ Harvey I was into. It's good, but I don't think it has the venomous bite of her earlier work. Also, Thom Yorke's cameos in this era just consisted of him repeating the lyrics (see also: El Presidente by Drugstore).

Quite an important album to me. I was 17 when "OK Computer" came out. It was quite unlike anything I'd heard before, and it stood in stark contrast to the tedious Britpop that dominated the airwaves at the time. It was weird and geeky, the sound of uncertainty in a world where technology was taking over, and believing in conspiracy theories was fun and silly and not causing the collapse of civilization. Fast-forward 25 years and I still know it inside-out; it's been engraved on my synapses forever. But it's also kinda patchy. For the initial sting of "Airbag" there's the literal let down of "Let Down," "Paranoid Android's" layered despair gives way to "Karma Police," which I never really liked. It's a good album, but, looking back, I feel like "The Bends" is more consistent and coherent.

To be honest I was dreading another Bruce Springsteen album. But this is decent; more sombre and stripped-back than his other, more work. I think I like Grumpy Bruce more than Hollerin' Bruce.

I can imagine this as being pretty popular in 2000. In 2023, not so much.

Little Richard! An album! Little Richard! An album! Whoop whoop whoop! ^ basically every song

Nicely done, very chill, reminded me of Japanese pop in places.

Just Anthony Kiedis singing about a blowjob he once had.

I'm totally biased, but I love Eno, and I think I even prefer this arty pop rock to his ambient works.

I love the first three or so tracks of this; the false starts, the growing menace of the throbbing bass drum. It's like trying to find a party at 3am, and then it finally kicks in. I think the rest of the album isn't quite the best party in the world, it's a bit too long, but it's still pretty damn good.

This somehow works in Neil Young-does-Goldfrapp kinda way. Love the orchestration, and it feels smarter and more polished than Odelay.

I listened to this on Friday and now, on Monday, I can't say I remember a single thing about this album. I think I liked it?

I loved this album about 10 years ago; I remember playing "Fascination Street" at a Halloween party and it went down a treat. I think it's got even better in the intervening years; it's beautifully desolate. Had I been born 10 years earlier, I would have been the biggest Cure fan.

I was initially worried this would be a bit too groovy, but then I heard the killer line: "I hate you baby with a passion, you know I do." And all was OK with the world. Nice to have a streak of cynicism and surging electric guitars among the bop.

This is fun and he has a nice voice.

The songwriting is a little bland, but this album grew on me. The production here is superb; one of those albums that you'd use to demonstrate your expensive CD hi-fi in the 90s. It also sounds like this is where Justin Timberlake got a lot of his ideas.

Brilliant.

"Alright" is such a blast of nostalgia for me, it just nailed the carefree optimism of the UK in the 90s. "Caught by the Fuzz," "Mansize Rooster," and "Lose It" are all pretty decent, too, in a gobby, cartoony way reminiscent of Blur. But it runs out of tuns towards the end, which is surprising for a 40-minute album.

Very of its time, not bad though.

I think "Sorted for Es and Whizz" was the first cassette single I bought. I remember listening to it with my Dad at the Barnstaple tip. I don't think either of us really understood what it was about, but I do now! I'm not sure time has been kind to this album as a whole. Lyrically it's great, but the music sucks.

Just wasn't feeling this.

I think I had Hendrix's greatest hits. This makes more sense as an album, though; it's long, but you can get absorbed in the trippy guitars. I like the way the best tracks (All Along the Watchtower and Voodoo Chile) are saved for last.

A little silly. I like "Come Out and Play," but it definitely feels like a riff on "Love Buzz" by Nirvana (and whoever did that song originally).

Slightly surprised to see this come up. Jacques du Cont was doing the whole 80s throwback thing before Calvin Harris made it cool. That said, quite a few tracks on "Darkdancer" seem to be crowd-pleasing late-90s house that don't quite live up to the perfectly executed pastiche of "Hey You" and "Sometimes."

Just lovely.

Def Leppard's appeal is rapidly diminishing. They're AC/DC-light, zero sense of irony, utterly inane and puerile.

Gets my vote for best album of the 80s. "Shout" and "Everybody Wants to Rule the World" are perfect pop, and the rest of the tracks are great too. At 45 minutes, it never outstays its welcome.

Rod Stewart looks like a Muppet and sings like a Muppet.

Every track sounds like an embryonic version of "Ever Fallen in Love With," apart from one where the swear a lot.

Appreciated how short this was!

Soothing and lovely.

Not a huge fan, but I can see the appeal of this as a live album.

I love this album and it really did set the scene for experimental, introverted music in the 90s. It was super cool to see Kevin Shields noodling away at a Primal Scream live session in 2000-ish as well. But it's a bit much, isn't it? Once you've got over that initial wall-of-sound blast, it becomes a little bit boring. I know that might be the point.

Never quite got The Stone Roses. Ian Brown's lyrics aren't great and this album is just way too long and indulgent. The only place it would make sense is on a stoned comedown after a big night at The Haçienda.

Just insolent noise.

Two tracks, 40 minutes, kind of perfect.

This is just the happiest album.

The band that put me off music and caused me to lose faith in the human race.

My friend Huw recommended this to me at least 15 years ago. Great stuff, punk, but melodic.

Wasn't a Weller fan at the time, he was the Palpatine behind Noel Gallagher's Vader, and together they built a bowl-cut Death Star of dull mod music (OCEAN COLOUR SCENE). But I understand the appeal a little more now: Wild Wood is a British, post-punk take on singer-songwriters like JJ Cale and George Martin. As such, I think it just about stands on its own merits.

I found this bland and forgettable. I think I prefer Bowie when he's doing more cringeworthy stuff, because at least he's trying something new.

Who's your favorite? I like Mr Wind best.

Starts out so tight, but totally goes off the rails towards the end. Gets top marks though for being so, so far ahead of its time.

Very grating in places, and Kevin Shields can't sing, and it lacks the punch of Loveless. But it's still MBV and it's still head and shoulders above everything else at the time.

Wayne Cloying more like.

I love how quiet this is in places.

Largely forgettable save a few moments.

Music for Airports - and generally quiet environments. I tried to listen to this in a busy cafe with loud, terrible music (KLAXXONS) in the background, and it kind of ruined the serenity. But it's definitely a great album, and a very influential one. I love the repetition of motifs and the way it builds up layers. Hypnotic.

Total snoozefest. Sunshine of Your Love is OK, but totally overshadowed by Hendrix's version.

Vaguely interesting but by no means essential.

So good. I love stumbling upon stuff like this that I'd never usually listen to, and Femi's family history is nothing short of incredible. It's an uplifting, energetic, politically switched-on and occasionally very funny album.

I haven't enjoyed most of the Tom Waits albums I've listened to on here, but this turned out to be an exception. It's definitely Waits, but it's less indulgent and more accessible than his later works. PS

Radiohead before Radiohead, Floyd before they made up their mind.

OK

The Cardigans and The Wannadies did indie better than the Brits thanks to the innate Swedish understanding of how to write great pop songs. The sweetness of Nina Persson's voice makes up for the insipid nature of some of the songs here.

I usually like hip-hop, but I'm not keen on this. It's noisy, discordant, and ultimately pretty boring. It's the kind of thing Kanye built on and improved greatly.

I've come to adore David Crosby, but this was too dated and too jangly for my tastes. I did enjoy the occasional dashes of mysticism, though.

"Another Girl, Another Planet" is one of those songs you've heard everywhere but always attributed to someone else (probably The Buzzcocks). It's a great tune and the rest of the album ain't bad either; I like its soporific, heroin-tinged take on punk rock.

This failed to make much of an impact, but there's something awkward and geeky about Echo And The Bunnymen that makes them likeable.

Admittedly, I'm not the biggest Green Day fan, and I remember finding the songs from this album pretty trite when they came out. But in the context of this album, they become part of a larger whole that ebbs and flows organically. I love the idea of a punk concept album as well.

Licensed to Ill is definitely a debut: The Beasties' sound isn't as refined or experimental as later releases, and there's a vein of casual misogyny. But you can feel the freshness, the energy, and I love the way it moves so fast. It's like being machine-gunned to death by rhyming couplets.

I went to Solsbury Hill once and it was shit.

This is hilarious, and knowingly, intelligently so. Post-irony before it was even a thing.

I love how damn tangible and chunky this album is, like a colorful toy from the 1970s that's been cleaned up and made better.

I saw Dylan live last year, some 56 years after this was recorded. Nice to have another live album to compare and contrast with; his voice may be a little more crinkly and he spent most of his time hiding behind his piano, but it was still undeniably Dylan and brilliant. This album is also great.

Another day, another Dylan album! Despite being released some 30 years after his heyday, this is still great, bluesy, tuneful, and wise.

A bit dated, but never not interesting.

I'm so relieved this doesn't sound how it looks.

A lot better and more interesting that other music of the era.

This has really grown on me. Giant is incredible.

A little patchy, but good overall; the sleazy funk of "Work It" more than makes up for the dire "Back in the Day." She reminds me of Prince in places. I think she helped reclaim hip-hop from misogynist assholes as well.

At last, a hip-hop album that isn't too long! And some of the tunes, especially "It's Tricky" and "Walk this Way" are terrific, and I guess they helped open up rap to a wider audience. It's just a shame that some of the lyrics are a bit dodgy.

An unstoppable Bowie meets an immovable Eno.

I'm not massively into nostalgia, but this whisked me back to 2000, when I'd just left home and started uni. "Since I Left You" is still one of the most upbeat tunes you'll ever hear, and I love the way The Avalanches added hip-hop to the hideous "chill" genre; it gives it more texture and backbone.

I didn't want this in my head.

It just always sounds like Shane MacGowan has written too many words to fit in with the music.

Never really got NIN. Until now!

This was so insipid that I don't even remember listening to it.

I don't think I've ever heard an album that so perfectly captures being in your early 20s. Alternately drunk, angry, energetic, worried, stoned, political, melancholy, and frequently hilarious. It made me realize that, with Dylan, it's good to start at the beginning.

I do love this album, and I never really realized how much Kim Deal adds to The Pixies sound. But the remastered edition on Spotify is cack! I had to bump the volume up to hear the details and it just made it sound like complete trash. Give me shitty 80s production over this weirdly spiky mix any day.

Weirdly, I had Helplessly Hoping running through my head this morning, and then it turns up here. It's so good! I love the way that this album takes the infectious pop of The Byrds and adds a dash of cynical folk rock to the mix.