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

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)

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

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

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

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.

"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.

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.

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.

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.

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.